This text revisits an earlier body of spatial inquiry through a vocabulary that has emerged subsequently through working with clay, ceramic bodies, reading, drawing and material encounters. Rather than correcting or replacing the earlier propositions, the text allows them to be encountered again as spatial conditions: bodies, traces, interiors, thresholds, gestures and atmospheres beginning to gather differently.

The five gatherings act as operative spaces rather than sequential arguments. Each gathers an earlier proposition and allows it to move into another relation, where thought becomes spatial and spatial experience becomes affective. The movement is therefore less towards knowledge than towards force~feeling: sensed intensities through which bodies, materials, memories and ideas come into correspondence.

Within this transition, the earlier text begins to reveal a developing concern with permeability. The body is not understood as a fixed container, nor space as a passive environment, but as a condition through which bodies may enter, alter and be altered. Traces become chambers; holes become sensing organs; surfaces become sites of encounter; and interiority becomes something generated between bodies rather than contained within one.

The gatherings therefore offer a future reading of an earlier practice. They do not claim to know what the work was before it was made, but allow its latent propositions to resurface through another vocabulary. What was once approached through spatial inquiry can now be felt as a gathering of material, affective and temporal relations. Earlier interiorities are not left behind; they are carried forward into matter, where they may be altered, forgotten, transformed and encountered again.

The text remains deliberately tentative. Its propositions are not conclusions but places from which further correspondence might begin. The gathering becomes both a spatial verb and a mode of becoming: an opening through which what has already been encountered may continue to move towards bodies, materials and possibilities not yet known.

Keywords

Spatial Practice · Gatherings · Material Reciprocity · Force~Feeling · Permeability · Interiority · Affect · Correspondence · Ceramic Bodies · Spatial Atmosphere · Thresholds · Embodied Practice · Hapticity · Kairos · Productive Unknowing · Material Becoming

A Hut within Matter(s) of Space~Surfacing 2026

A HUT WITHIN THE INFLUENCE AND NATURE OF ARCHITECTURE 2015
The tendency of technological culture to standardize environmental conditions and make the environment entirely predictable is causing a serious sensory impoverishment. Our buildings have lost their opacity and depth, sensory invitation and discovery, mystery and shadow.
Juhani Pallasmaa, “Hapticity and Time: Notes on Fragile Architecture,” 2000

The Scriptorium~The Waverley Project

Description of Working Site.

The ruined site of the abbey at Waverley, near Farnham, has been appropriated as a site and as a place within which to position and develop architectural and sociological inquiries. The design processes of interiors have been employed as tools both to critique and to explore how we might further develop the contents of architecture. This spatiality, and its diffractions of differences and similarities, narratives and subjective experiences, are what my interior spaces attempt to initiate.

Design becomes an interactive structure, an interlocutory interior in the making of space and spatial relations.

Interior design presented as an interactive and immersive spatial inquiry.

The Scriptorium brings together a varied and discursive set of objects, texts and interior architectures.

This work seeks to understand how the virtual changes physical architecture and how this affects the space between people and buildings.

The “performativity of research” is presented through specifically designed apparatuses and partitions. These designed components and made objects, together with annotated texts and drawings, conspire to create a complex design-led inquiry: a “Place Study” staged in a niche-like space.

This interior presents itself as both distinct from and relational to the other projects in the MA Interiors Show.

The interior presents the many manifestations of creative research, structures and even symposia that have been developed through engaging with the site. The visualization of the research and the relational architectures rendered through montage and collage explores digital and analogue technologies. This hybridisation, together with the use of pinhole photography and film footage, further explores interests in the field of performance as an immaterial architecture drawn in the presence of place.
The realisation of my interiors project consists of two separate but relational elements that are presented within a built environment. The small ‘Scriptorium’ is conceived as a space of refuge: an intimate, minimal construction that features a doorway and an interior containing a place for objects, perhaps books, as well as a small sitting area.

This construction, an open cell perhaps, is evocative of a state of contemplation within the fabric of the everyday. The rather hybrid design appropriates a merging of minimalism, modernism and the plastic architecture of a ruined Cistercian Abbey.

The construction comes into close contact with its occupant. It is a restricted spatial apparatus that attempts to promote, through its awkwardness, distinctive experiences. In particular, the apparatus of the Scriptorium and its materiality attempts to promote a sensory intensification that is further underpinned by the cognitive processes of reading and perhaps other social dialogues.

The sensory intensification of a hut-like space promotes a haptic sensibility, allowing the nearness and intimacies of both the built space and the imaginative, virtual realm to become entangled.

Ultimately, the Scriptorium is trying to build on unique human subjectivities that are manifested through a kinaesthetic repertoire, or script, that helps to enact further spatial experiences.
It might be useful to think of this constructed space as itself still under construction: a site that acts as its own vessel within the multiplicities of human perception itself.

The influence of the Cistercian Order, the site of Waverley Abbey and its pastoral landscape have all contributed to a sense of the design process. The Scriptorium, like the ruins themselves, is open to the elements.

Waverley Abbey remains as a sensory site between the remains of architecture and its society and the effects of our own global culture in the information age.

Architectural Transposition : Anti-Object

Kengo Kuma’s Transparent and temporary shelter transposed to Waverley Abbey.
Analogue/Digital Hybrid.

In troubled times they all sought to experience life away from social definitions of success or failure. From there, these primitive huts marked personal, original inquiries into the ever-mysterious nature of human existence.

Anne Cline, A Hut of One’s Own: Life Outside the Circle of Architecture.

The Scriptorium began through research into both architecturally themed texts and documentation of the site, alongside creative practice involving photography—digital, analogue and film—and the art practices of collage and drawing.

The many visits promoted my own subjectivities to the site, and these were also frequently subjected to change by the intervention of others in unexpected ways. These social intrusions by others revealed the very boundaries that the historic site engenders, some playful, others malicious.
These extremities within the social order of the visitors became problematic in designing for the site itself. An earlier proposal to host a symposium centred on the Arts and the Humanities, using the Abbey and its surrounding grounds, appeared to be a project of vast diversity and logistics, better suited to a cultural project through arts management and funding.

As the project developed, certain creative methodologies around particularities of the site itself began to appear, the notion of the palimpsest being one of them. This promoted the idea of a reading room: an ephemeral interior space that gathers up the experiential values of ‘ruins’ and re-enacts them as a site to explore the architectures of images.

It became apparent that ‘palimpsest’ could be both a visual surface of erasures, earlier markings partially overwritten by newer ones, ‘annotations’, and a scaffold of developing ideas, clearly visible as they merge and adapt into the very usage of the site.

These re-imaginings through the notion of palimpsest seemed filmic and, as such, would be able to display a vast amount of diversity and subject matter: a library of resources that would require users, an audience, or both.

The referencing of the reading room to the library, and the symposium to the cinema or theatre, allowed me to realise that I was dealing with a number of spatial arrangements that needed to develop together, but which could be employed separately.

In an era in which architecture is once more learning its potential as a form of inquiry, rather than as a service—as a producer of knowledge, and not merely of ‘projects’.
Brett Steele, “Atlas-Tectonics in Barkow Leibinger,” Bricoleur Bricolage, AA, 2013.

Inquiry is essentially the way of learning.
J. Krishnamurti, The Cultivation of a Good Mind, Brockwood, 1963.

The Theatre of Research became the vehicle through which to see if this collaboration might be possible.

The use of image and text in my architectural collages allowed me to visualise associations and to create possibilities for interior spaces that might be manifested within the built environment. The use of collage in architecture is widely acknowledged by architects such as Mies van der Rohe, Daniel Libeskind and Rem Koolhaas.

The ability of the collage process to juxtapose fragments, images and texts from irreconcilable origins into an experience that is visual, tactile and time-based makes it an interesting tool within the realms of architectural design.

Collage begins to visualise not only the structure of spaces but also their content and circulation. The Theatre of Research is interested in how to promote collage and its use as a cognitive and perceptive tool in architecture.

Collage and montage are quintessentially techniques in modern and contemporary art and filmmaking.

Collage combines pictorial motifs and fragments from disconnected origins into a new synthetic entity, which casts new roles and meanings to the parts. It suggests new narratives, dialogues, juxtapositions and temporal durations. Its elements lead double-lives; the collaged ingredients are suspended between their originary essences and the new roles assigned to them by the poetic ensemble.
Juhani Pallasmaa, “The World is a Collage” / Jennifer A. H. Shields, Collage and Architecture.

Reflective Analysis.

Both the Scriptorium and the Theatre of Research exist only in the form of the exhibition presentation. What they singularly or together propose can only be imagined through their manifested form as static objects placed within a built structure that loosely references architectural concerns and materials.

They appear diminished and assigned to the voyeuristic gaze of the visitor, who is equally curious and dismissive. These objects and the interior spaces they promote seem stilled and stalled. As much as they appear beyond reach, it is as if the authenticity of their materials and construction has somehow been subsumed by their stature and scale.

The issues and qualities of which they are attempting to speak seem reduced by the hegemony of vision. There is little hapticity and time to encounter, only, it seems, through investing narratives can we begin to re-enact the spatial encounter.

The question I ask is: do these objects and their interior spaces cause me to think beyond mere representation and recognition, or rather do they create enough of an encounter to force me to engage with them, even if I or the viewer are uncertain as to their meaning or possible outcome?
Deleuze comments that something forces us to think. This something is not an object of recognition, but a fundamental encounter: something that challenges us.

Have these miniature architectures of objects become relational? Do we start to use them in perhaps a heuristic manner, a hands-on approach to learning or inquiry, something that we can discover for ourselves?

This heuristic finding-out could be made informative through collective collaborations and exhibition through the Theatre of Research.

Is design stripping us of our qualitative spaces as digital tooling removes the maker’s trace?

The model object has served as a thinking place in the development of the idea of the Scriptorium.

The materials used and their proportions echo interests in Minimalist Sculpture, the intervals between things in the work of Donald Judd, and the architectural languages of memory and tectonics of the craftsman-turned-architect Peter Zumthor.

This open-sided hut seems cut away, almost anatomical, as if we were looking into the internal workings of an environment and resident. The structure would have to be made relational to its surroundings if it were to be placed in the landscape: adaptations to weather and the structure would be necessary to make it serviceable for use.

The Scriptorium has analogues to the notion of a fireplace and its chimney stack. It is at the heart of a building: the place of warmth, of dialogue, and, through fire, of the imagination.
The incompleteness that surrounds the Scriptorium creatively asks for further design proposals that are even more site-specific.

The Solar Pavilion built by the Smithsons utilised the old fireplace and chimney from the demolished cottage. Around this central element they developed the beginnings of their Modernist (Brutalist) pavilion, an architecture clad with glass, wood and zinc, contained by a walled garden and situated in the pastoral landscape of Wiltshire.

Furthering the themes of being in the landscape, the Scriptorium could become an observatory, a place both to look out from and also to look in. The mobility, or need to be reassembled from site to site, could promote innovative design solutions, as well as interesting detailing or use of materials and surfaces that would facilitate interactions between visitors.

The notion of the Scriptorium becoming clad by an exterior skin, an ephemeral membrane which would then render the differences between the interior and the exterior into the realms of an almost immaterial architectural experience, further develops the distinction between the unpredictable forces of nature outside and the predictable domestic spaces inside.

This prompts further investigation into an architecture that blurs the boundaries between architecture and nature. This could be further explored through the notion of quixotic gestures, art and performance that can capture the experience and experiential engagement with the natural elements.
The Scriptorium becomes the centred structure of remnant, surrounded by an architecture that can create imprecise boundaries through inconsistent materials.

This spatial arrangement will create its own qualitative responses, dialogues and subsequent movements.

Architecture in this context becomes purely a sensorial response.

The body as the vector for active mediation with the world of the spirit. The body is the instrument of a qualitative evaluation, the measure of intensity, which alone is capable of giving space extension and modifying it. Space is no objective parameter; it must be ‘excavated’ in relation to the mobile living parametrics of the body.
Frédéric Migayrou, “Architectures of the Intensive Body,” Yves Klein, Guggenheim, 2005.

Mark Prizeman, Intensity: Ephemeral, Portable Architecture.

Time, space and existence are amongst the greatest of themes—so great that we could never be so presumptuous as to think we could do them justice, and too close for us ever to escape them, whether with our thoughts or actions, in life or in art.
Peter Lodermeyer, “Personal Structures: Time. Space. Existence,” 2009.

My design project has attempted to produce spaces and their interiors, together with the apparatus of the Scriptorium, that qualitatively seek to inquire into the world we inhabit.
The Theatre of Research attempts to establish some sense of a community that can do fieldwork that invigorates the perception of the environment.

My own interests are centred on experientially and mindfully exploring voids, cavities and spaces between things, together with the use of clay, glass and other vernacular materials.
As an interior designer/artist, I have become experiential to the agency of spaces. The Theatre of Research becomes a meeting place for furthering my programme, initially proposed as a symposium at Waverley Abbey.

Reflective Critique / Appraisal.

How might I start again?

The Scriptorium would need to collect and question considerably more qualitative data. Some sort of portable shelter, lightweight and offering some protection from the elements, would have allowed longer periods of stay and the possibility of experiencing different times of day.
The activity of walking to the site, of having to incorporate it into a journey, would help to create a stronger sense of place and routine.

I am interested in the ‘thingness’ of this place, its influence, and how its influence might be transposed into a methodology of reading, theorising and making.

I am reminded of Peter Brook, who deliberately demolished his avant-garde theatre building, Bouffes du Nord in Paris, so that he could create a more emotionally responsive space for theatre.
It is this influence of the Abbey that I wish to explore as a creative catalyst, a tool that picks up on its differences as qualitative readings.

The ruin, by its very nature, has redefined its own architecture from one of form into one of experience: a sense of liminality or immateriality that constitutes itself as architectural experience.
A good space cannot be neutral, for an impersonal sterility gives no food to the imagination. The Bouffes has the magic and poetry of a ruin, and anyone who allowed themselves to be invaded by the atmosphere of a ruin knows strongly how the imagination is let loose.
Peter Brook, The Open Circle / Andrew Todd, Peter Brook’s Theatre Environments, 2003.

How might the performativity of research be staged, and into what contexts might it be appropriated?

As Hans Ulrich Gumbrecht notes, we live in a culture of meaning, not in a culture of presence. We constantly produce effects of meaning and multiply them with mass media. This applies not only to the humanities but also, to a large degree, to our wholly normal everyday lives. And in this respect, our experience of presence is getting drastically lost.

Artworks may never completely be explained by theory or meaning. The sensual, material makeup of the work in its presence is not the cinders, slag and ashes, the undigested remains of theory, but remains of an intensified moment.

SENSORY THEATRE

EX MACHINA — Robert Lepage

While Lepage continues to pioneer the use of technology, his work is imbued with an intimacy and humanity that few can match. Edinburgh Festival, 2015.

ABBATOIR FERME — Jan Fabre (Troubleyn, Performing Arts)

A SOMATIC ARCHIVE, of subjectivities whose perceptions and environments are going to change forever; like the particularities of the analogue trace in photography that is now becoming a distant experiential condition, an orphan, extinct from the subjectivities of its originating culture/organism.

The Waverley Inquiry

A Theoretical and Somatic Search amongst Ruins and Archetypes

Historical Perspectives

Dwelling / Poetics — Heidegger Archetypes / Symbols — Jung

Flesh and Stone — Richard Sennett Flesh and the Logic of Sensation — Deleuze / Bacon

Contemporary Spatial Practices

Feminist Geographies The Posthuman

Posthuman thought inscribes the contemporary subject in the conditions of its own historicity.

Rosi Braidotti, Posthuman Subjectivity

LIGHT into SOMATIC SPACES

Continuum and Chora Light and the shadow of chora

Life expresses itself in a multiplicity of empirical acts: there is nothing to say, but everything to do. Life, simply by being life, expresses itself by actualizing flows of energies, through codes of vital information across complex somatic, cultural and technologically networked systems.

Braidotti, 2013:190

Architecture / Body / Space

De Architectura — Vitruvius

Architecture consists of order, arrangement, proportion or eurythmy, symmetry and décor, and distribution.

Arrangement as an “Idea” refers to the Aristotelian notion of “image-representation” as phantasia, a precondition to drawing, effectively occupying and revealing a space between Being and becoming.

Contents List from a Folder in the Theatre of Research

Chora, Body and Building

Space as Membrane

Chora — Exhibition, 1999

Lessons of a Dream — Karsten Harries

Concrete Blonde — Joanna Merwood A probe into the negative spaces where mysteries are created.

Surrealist Paris — Dagmar Motycka Watson The non-perspectival space of the lived city.

Body and Building — George Dodds Essays on the changing relation of body and architecture.

Sphere and Cross — Karsten Harries Vitruvian reflections on the Pantheon Type.

Body and Building — Marcia F. Feuerstein Inside the Bauhaus’s Darker Side.

Desiring Landscapes / Landscapes of Desire — George Dodds

A Tradition of Architectural Figures — Marco Frascari

Intertwining Metamorphoses — Germano Celant On the work of Giuseppe Penone.

Space as a Membrane — Siegfried Ebeling.

The Feeling of Things

Architectural Plan

Collage

Text Inclusions

Diagrams

Derrida for Architects

Spatial Apparatus/Architectural Practices

Unlike a library, the Theatre of Research is a working space that creates and crafts both theoretical and practical objects, things and documentation.

Its reason for being is to explore the praxis for creative narratives between the Arts and the Humanities. It attempts, through performance, fine art and architecture, to collage qualitative and diffractive dialogues into new relational discourses, the results of which become exhibited or staged as open workshops, engendering praxis, publication and production.

In its fledgling state, it is seen as being part of a University faculty that has interests in the Arts and the Humanities. The possible linking with other establishments could be investigated.

The working space becomes operational as a studio or laboratory that is engaged with full-time research-led activities. Separate yet collaborative spaces and activities promote an environment for inquiry and personal development.

The Theatre of Research becomes a space that allows for the post-production of ideas into new forms of social interaction.

The theoretical merging with the practical into a relational narrative or methodology enriches the practices of others, forming both new creative environments that can contain innovative ecologies and question global perspectives.

Moreton’s earlier writing can be encountered as the beginning of a spatial practice whose concerns have continued to move between bodies, materials, places and forms of attention. The Scriptorium, the Theatre of Research, the reading room, collage and the indexical body were initially articulated through questions of architecture, interiority, hapticity and experience. Yet within these early propositions there is already an interest in spaces that do not simply contain experience, but alter the conditions through which experience might occur.

What has changed is perhaps less the subject of the inquiry than the material through which it is now encountered.

The earlier language of research, methodology and spatial inquiry has gradually become more tentative, affective and reciprocal. Reading is no longer necessarily a means of gathering information, but a way of becoming susceptible to other bodies of thought. Architecture is not simply represented, but entered through sensation, memory, atmosphere and the body. Clay subsequently intensifies this condition: it receives pressure, gesture, resistance and touch, but does not return them unchanged.

In this movement, Moreton’s practice becomes less concerned with positioning itself within an established ecology than with entering an ecology sufficiently to be altered by it. This permeability introduces a different understanding of making and learning. Encounters may be gathered without being fully retained; they may disappear into material processes and resurface later as sensation, form, atmosphere or force. What is forgotten is not necessarily lost. It may become available to another body, another material condition, another atmosphere.

The earlier concepts of chamber, threshold, palimpsest, void and interiority can therefore be understood as having continued to travel. They have moved from architectural propositions into material conditions. The chamber becomes permeable; the palimpsest becomes material becoming; the void becomes a hole; the threshold becomes a sensing organ; the surface becomes a site of correspondence.

This movement also gives a different significance to asperity. Friction is not only resistance between separate things, but a condition through which bodies meet, catch, interrupt and sometimes slip into one another. The asperity is the point at which correspondence becomes sensible: a reading can slip into an image, an image into a gesture, a gesture into clay, clay into ceramic, and ceramic into atmosphere.

Matter(s) of space~surfacing describes the movement through which material encounters become spatial intensities. What is gathered through clay does not remain contained within the ceramic body. It migrates through surface, aperture, interior, shadow, light, proximity and atmosphere, becoming perceptible in the encounter between bodies. Surfacing does not mean revealing something hidden beneath a surface. It describes a becoming: an intensity finding another spatial condition through which it can be sensed. A pressure may surface as contour; resistance as aperture; repetition as rhythm; absence as interiority; a remembered gesture as atmosphere.

The resulting practice remains deliberately unfinished. It does not claim to resolve the relations it gathers. Instead, it creates provisional chambers in which thought, material and sensation can remain in correspondence. Kairos accompanies this condition of unknowingness: the moment in which an encounter becomes capable of producing something not yet fully conceivable.

From this perspective, the five propositions that follow are not stages in a development, but thresholds through which an existing spatial practice continues to become otherwise.

Recovering Research Bodies.

Spatial Propositions.

Correspondences across both Moretons.

The interior was already not really an interior

An earlier Moreton describes the Scriptorium as an “open cell”, a refuge that remains open to the elements, and later imagines an exterior membrane that destabilises the distinction between inside and outside.

This is remarkably close to Moreton’s current permeable chamber.

The body was already the measure of spatial intensity

The passage on the “intensive body” is not simply an architectural reference. Moreton’s text immediately moves towards voids, cavities and spaces between things, and towards clay and vernacular materials.

This now reads as an early formulation of Moreton’s sensing body.

The palimpsest already anticipates material memory

An earlier Moreton described the palimpsest as both a surface of erasure and a scaffold where earlier and newer markings remain partially visible.

This is close to what Moreton now encounters through clay as an ecology of accumulated encounters, productive forgetting and resurfacing.

An earlier Moreton was already dissatisfied with representation

The most important question may actually be this:

“do these objects and their interior spaces cause me to think beyond mere representation and recognition…”

That question can now be understood as a philosophical precursor to Moreton’s concern with force~feeling. The emphasis has shifted from what an object represents towards what happens between bodies when an encounter takes place.

The Theatre of Research already contains the germ of Moreton’s current spatial practice

The final proposition describes a space that brings theoretical and practical objects together, through performance, fine art and architecture, producing “qualitative and diffractive dialogues” and new relational discourses.

Today, Moreton might call this less a Theatre of Research and more a chamber of correspondence.

Perhaps the most interesting thing about revisiting this material is that Moreton does not need to retrospectively make the old text say what he is now saying.

The earlier work already contains the beginnings.

The later ceramic practice seems to have entered the old architectural inquiry rather than abandoned it. The hut becomes chamber; the chamber becomes body; the body becomes permeable; the void becomes hole; the palimpsest becomes material memory; the theatre becomes atmosphere; and research itself begins to loosen into affective inquiry, sensing, gathering and becoming.

The older architectural work can therefore be read not as an abandoned stage of the practice, but as another chamber within it. Its propositions remain active, not as origins to which the later work must return, but as material and conceptual bodies capable of being re-entered.

The Scriptorium.

The hut.

The ruin.

The reading room.

The Theatre of Research.

The collage.

The indexical body.

The hole.

The ceramic chamber.

The wrapped and tensioned body.

Tensions and Correlations : Wrapped~Tensioned and Bandaged Bodies

The wrapped and tensioned body extends the earlier concern with vulnerability, protection and spatial relation into the material conditions of ceramic making. What was once encountered through membrane, enclosure, skin and threshold now becomes materially present through layering, wrapping, scoring, binding and tension.

The white refractory layer operates almost as a bandage: a protective skin applied in anticipation of fire. It covers, protects and partially obscures the ceramic body, while remaining visibly contingent upon the forces it is intended to withstand. Protection therefore becomes another form of correspondence between body, material and force.

The scorings across the white surface introduce another register. They mark, divide and traverse the body, establishing lines along which tensions can be sensed. These marks are not simply graphic additions to an already completed surface; they register a field of forces across it.

The bandage protects, but also records vulnerability.

The wrapping holds, but also produces tension.

The refractory layer protects the body so that it can enter the fire.

What appears as surface treatment therefore becomes a spatial and material proposition. The surface begins to behave less as a skin that simply encloses the body and more as a field through which pressures, protections, interruptions and relations become perceptible.

Wrapped~tensioned and bandaged bodies extend the practice’s earlier concern with the interior and the membrane into a ceramic condition. The body is held, but not sealed; protected, but not isolated; marked, but not fully determined.

The ceramic body is therefore not simply held together. It is held in relation.

These are not separate subjects.

They are different bodies of the same spatial inquiry.

What changes is not simply the subject of the inquiry, but the material through which the inquiry becomes sensible.

Architecture provided the first chambers.

The body entered them.

The archive gathered them.

The collage allowed them to circulate.

Clay absorbed them.

Ceramic transformed them.

Atmosphere returned them.

And other bodies continue the process.

This makes the practice neither simply architectural nor ceramic, neither research-led nor object-led.

It is perhaps more tentatively understood as a practice of correspondence:

a way of becoming sufficiently permeable to matter, bodies, readings, places and forces that they can alter one another.

The work does not seek closure.

It makes chambers in which something might happen.

It gathers without completely containing.

It remembers by forgetting.

It withdraws while remaining available to encounter.

And the spatial practice continues in the interval between what has surfaced and what has yet to become.

The trace looks backwards.

The proposition leans forwards.

The chamber holds the interval between them.

And the next body has not yet arrived.

The original text approached these propositions as thresholds: spatial conditions marking passages between body, image, memory, architecture, material and thought. In revisiting them, however, the threshold has begun to operate differently. It no longer describes a boundary between one condition and another, but a place where different bodies begin to affect one another.

The threshold has therefore become operative.

What was once understood as a passage can now be understood as a gathering: an active spatial condition in which bodies, materials, readings, memories, gestures and atmospheres accumulate without necessarily resolving into a singular meaning. Gathering does not imply completion. It allows something to assemble provisionally, to remain porous, and to become capable of further correspondence.

In this sense, the five propositions can be read as a kind of spatial Five Memos: not principles to be applied, but movements through which the practice continues to think, make and become. Each gathering carries something forward from the original text while allowing it to encounter the vocabulary that has subsequently emerged through clay, ceramic, permeability, material reciprocity, affect and spatial practice.

The movement is therefore not:

threshold → passage → arrival

but:

gathering → correspondence → transformation → further gathering.

The five propositions remain open in this movement. They are not stages of a method, nor a hierarchy of ideas, but spatial operations through which one body can enter the company of another.

The body is not simply the subject of the work but its first spatial condition. To enter the body is to encounter a mutable interiority: flesh, memory, sensation, movement and imagination gathered together without becoming fully knowable.

The body becomes a spatial proposition rather than a fixed figure. It is already permeable, already exchanging with the world; its interiority is produced through these exchanges.

The trace records an encounter without preserving the encounter itself.

An imprint, gesture, drawing or mark carries something forward while allowing something else to disappear. The trace is therefore neither evidence nor representation alone. It is a material remainder through which another body may encounter what is no longer present. Its incompleteness is part of its capacity to correspond.

The indexical body begins here to move from living body towards ceramic body.

The chamber gathers rather than contains. Its interior is not simply a bounded inside, but a condition produced through relations between bodies, materials, light, shadow, memory and atmosphere.

Architecture is encountered as a collection of collective parts: surfaces, openings, enclosures, passages, bodies, light, shadow and atmosphere. The chamber becomes a space for inhabiting experience, a lived abstraction and a lived-in abstraction.

Here spatial practice begins to move beyond the production of objects towards the production of conditions in which something might happen between bodies.

The chamber remains deliberately incomplete.

The hole becomes a particular spatial distinction.

It is an excavation within the body, but also an opening through which another body, another atmosphere or another future may enter. In the earlier work, the human scale of the hole gives this apparently minor gesture considerable existential force: the centre of the body is present as absence.

Later, smaller borings and perforations multiply this condition. The single hole becomes a field of openings; the exceptional threshold becomes porosity.

The ceramic body does not merely occupy space. It develops organs through which space can be sensed, gathered and made otherwise.

The hole is therefore not simply an absence within matter. It is a threshold-organ, an exploratory and speculative organ through which the ceramic body enters correspondence with other bodies.

What enters the material does not necessarily remain recognisable.

Clay receives gesture, pressure, reading, memory, resistance and force, but through drying, alteration and firing these encounters undergo transformation. Something is forgotten; something persists; something else surfaces.

This is productive forgetting.

The ceramic does not return the encounter unchanged. It returns it as another body: surface, atmosphere, aperture, shadow, tension, weight, presence.

What was gathered within clay may therefore surface later as something not yet known: not as the recovery of an original meaning, but as another material condition through which an encounter can begin again.

The trace looks backwards.

The proposition leans forwards.

The ceramic occupies the interval between them.

The five gatherings do not conclude the inquiry, but leave it open to further correspondence. Each gathers something from the previous text while allowing it to move elsewhere: from body to material, from trace to chamber, from reading to sensation, from interiority to atmosphere. They are not stages to be completed, but spatial propositions through which the practice can continue to sense, alter and be altered. What emerges remains tentative—held between what has been encountered and what has yet to become perceptible. In this sense, gathering is also a beginning: a way of becoming sufficiently permeable for what follows, for what cannot yet be known, but may be encountered as matter(s) of space~surfacing.