Red Wall/Pace Gallery London 2014
Robert Mangold

Waverley Project/Research Collage
Design based photogram
Russell Moreton

Speculative Drawings : Becoming Spatial/Figural

 Ever instant has a thousand memories : Henri Bergson

At last we could talk about and investigate mental imagery, subjectivity, imagination and creativity. At last scientists could tackle the mystery of consciousness without being laughed at.
Mysteries Of The Mind, Susan Blackmore.

Between The Microcosm And The Macrocosm, Mami Kataoka.

A Field Guide To Getting Lost, Rebecca Solnit.
The Blue of Distance

The world is blue at its edges and its depths. This blue is the light that got lost. Light at the blue end of the spectrum does not travel the whole distance from the sun to us. It disperses among the molecules of the air, it scatters in water. Water is colourless, shallow water appears to be the colour of whatever lies underneath it, but deep water is full of this scattered light, the purer the water the deeper the blue. The sky  is blue for the same reason, but the blue at the horizon, the blue of land that seems to be dissolving into the sky, is a deeper, dreamier, melancholy blue, the blue at the farthest reaches of the places where you see for miles, the blue of distance.

This light that does not touch us, does not travel the whole distance, the light gets lost, gives us the beauty of the world, so much of which is in the colour blue.

Digital Dye : Blue
Photogram

Blue Spaces : White Absences #2. Silence/Void : Gap/Reveal

DSC_6772 Absence/Potential  of Dialogue : Raveningham
Cyanotype, paper negative on used canvas frame

DSC_6761 CELL COURT DOMAIN FIELD

Bioscleave/Blue Particle Cloud/Diagram.

Biosphere/Archipelago : Sun Drawing/Cyanotype

The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.

The Drowned World, JG Ballard.

blueprints, cyanotype, alternative printing processes, light drawings,

precision and indeterminacy, human form, ecology,

environments, contemporary art practice

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 Architecture/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

Contexts:

Practice-based research , Research , Studio practice

Artforms:

Painting , Mixed media , Drawing

Tags:

Bioscleave, Architectural Research, Arakawa and Gins,

cyanotype, diagram, collage, texts, current concerns, contemporary practice

Cyanotype from a site drawing, Space for Peace, Winchester Cathedral

Shroud

Richard Stillman

Yard and Metre Event, Winchester

As the marks resonated, did they sound true?

Could we tolerate margins of error or latitude?

Is there strength in that built by blue ink?

It is hard to see without certainty.

Why have they flown, gathered, shrouded?

Is the date significant? A memorial?

Or is it white noise reverberating,

striking parallels, refusing focus, insisting?

The shape of the cross is still distinct

but opening out, refusing definition,

never quite caught as an intention,

pinned on dimensions it wants to refuse.

When objects or atmospheres collide energy is transferred, a new force may be created. And, as forensic scientists can attest, when objects touch they exchange traces, each leaves something of itself with the other.

This is why artists enjoy collaborating. Working with another artist can give a jolt of inspiration, a spark of creative thinking, a surge of new skill, the stimulus for a new work. And the experience will leave its mark in some way on each individual’s practice.

The specific ‘collision’ may also result in a work which has its own integrity, which does not belong’ to either party and where their particular contributions merge indistinguishably – in effect fusion takes place.

This is the thinking behind 10 days | Creative Collisions and for The Yard artists and Hyde Writers it was the ideal excuse to come together, to let the shockwaves flow and see what new possibilities emerged. As with all the best creative practice, in science or in art, this has been an experiment, it involved risk, trust and open minds. Whether or not the outcomes are fully resolved they will be filled with potential – and with potency.

Stephen Boyce

Contexts:

Arts in health , Community , Publication , Socially Engaged , Writing

Artforms:

Painting , Performance , Photography , Printmaking , Text

Tags:

Space for Peace, 10 Days, Creative Collisions, Winchester Yard Artists,

Hyde Writers, collaborations. visual art, poetry

 Outpost 240123

Speculative/Creative /Geographies/around Moving Bodies of Thought.

Explorations around dwelling/site based ontologies.

Dwelling/Person/Environment/Engagements.

The simple fluid ‘flat’ making ontologies of bringing/bonding clay forms together.

Worlding/Water/Performative/Intraventions.

A Practice of Transformational Modalities.

The Processual Character of Form.

Organic life, as I envisage it, is active rather than reactive, the creative unfolding of an entire field of relations within which beings emerge and take on the forms they do, each in relation to the others. Life is the very process wherein forms are generated and held in place.

Ingold.

For Ingold, there is no environment without the folding and enmeshment that is the process of life. Organisms are not folded in on themselves and surrounded by an ‘environment’. Instead organisms are points of growth of environment, and whose relations are rhizoidal; and the environment is better understood as a domain of entanglement.

Making/Curriculum/Dwelling/Landscape/Place.

Re-imagining Education.

Brockwood Park School.

Understandings of place and agency.

Development/Growth/Knowledge/Skill.

Studies in Philosophy and Education.

Discussions around epistemology and ontology.

Improving Human-Environment Relations.

Dwelling.

Rethinking the animate, re-animating thought.

Tim Ingold.

Ingold insists on a flat,continuous and processual ontology of dwelling and becoming.

Curriculum Making as the Enactment of Dwelling in Places.

Empirical Research.

Participation.

Poetics of Space.

Reverberations/Dwelling.

Gaston Bachelard.

Why is everything we think we know about ecology wrong?

Being Ecological.

Timothy Morton.

Architecture has the capacity to be inspiring, engaging and life-enhancing. But why is it that architectural schemes which look good on the drawing board or the computer screen can be so disappointing ‘in the flesh’?

The Eyes Of The Skin.

Architecture and the Senses.

Juhani Pallasmaa.

Marking The Line.

Ceramics and Architecture.

Formal/Monumental/Archetypal Vessels.

The giving jug/the receiving bowl.

The making by pressing clay into a mould and then manually hollowing and adjusting the form is clearly a sculptural one-off procedure as opposed to industrial repetition. However, the obsessive working of the surface- post-firing pigments, hand painted layers and final waxing- is reminiscent of the prototyping of industrial design and automotive design products in a mimesis of an envisaged perfected shell.

The Present in the Past, Eric Parry.

Site/Life-specific installations.

Building a bridge between ceramics and architecture.

Shared ground, both pursuits are primarily occupied with the use of space, scale, volume and materials.

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

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

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

IMMATERIAL ARCHITECTURES MAKING IN THE LANDSCAPE.

RAVENINGHAM SCULPTURE TRAIL 2018/2020

STIMULATING TENSIONS.

BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.

Mediating/Architecting the experience of LANDSCAPE.

The building as nothing more than an exposition of itself.

Georg Simmel, text Frames, Handles, Landscapes and the aesthetic ecology of things.

A subjective hypothesis, a drawing developed into an objectivity for experience/learning.

SITE, the undoing of PLACE.

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

Art Practice as a Speculative Spatial Practice.

A reflective building is an echo not a statement.

Haptic devices/seating/dwelling in the landscapes of the mind. Landscape assemblages and the significance of solitude.

The immensity/intimacy and its immediacy to the imagination. Immensity is within ourselves. Gaston Bachelard

The site a Raveningham offers the spatial practice of a social event and the opportunity to playfully engage with architectural forms, fine art surfaces and textures.

The sensing space, a sculptural assemblage created at Raveningham is an inquiry into ‘making’ and ‘reflexivity’ amongst a social landscape.

SENSING AND SPATIAL PRACTICE.

Creating a new viewer, who has to look in two self contradictory/self annihilating directions at once. Darkest Spaces of Our Times, Therese Oulton, Jacqueline Rose.

CONTEMPORARY ART AND ANTHROPOLOGY : SPATIAL PRACTICE.

Making Place/Tools, cognitive enactments/materials and performativity/wellbeing.

Sociological aspects of the Arts

Archaeology, Anthropology, Architecture, Art, Tim Ingold.

A FIELD GUIDE TO GETTING LOST : Rebecca Solnit

Experiential anthropology / Walking as ‘being/becoming in place’

Sensate, Sensing Sensuality, Otherness.

WHITEBOARD : PAVILIONS/RAVENINGHAM

Art as Contemplative Practice : An Applied Praxis/Inquiry

Expressive Pathways/Building/Making as an extension to the Self/Selves In Response : To Place/Site and “Dwelling/Hut”

Subjective Hypothesis Bricolage/Tectonics/Making.

Poetic Abstractions/ Components, Elements

Physical Experience/Experiential Phenomena ( Light/Gravity/Air) Sculptural Assemblage, Building/Making an Exposition of Itself

Smithsons, The Parallel of Life/Art the everyday/quotidian Grounding/Earthing/Dwelling/Home : Reflexivity/Reflection/Reverberations

Knowing Through Making/ Embodying Insights, Tim Ingold

MAKING : Deliberation/Awareness : Constructed Situations/SURFACES and TEXTURES SENSING, Sensorium/Embodied Experience, Sensate, Intra/Intervention

PLACES that transform Chaos into Cosmos, Karsten Harries

PERCEPTUAL psychologist, J.J. Gibson departs from ‘the classical approach to depth or space’ in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.

Socializing a Sculptural Practice, Jack Robins 2015

Strange Tools, Art and Human Nature, Alva Noe 2015

Visual Tool, Post Studio, Daniel Buren

INDEXICAL, Traits/Traces and subjective narratives Situational/Relational Aesthetics, Victor Burgin, Nicollas Bourriaud

Handmade, Repetition, Empirical, Experiences.

Metonymy, Cristina Iglesias ( Metonymic Thinking Processes)

Architecturally Speaking, Practices, praxis between art .architecture and the everyday. Visual Perceptions/ The Image

Surrealist Techniques, Collage, Photograms. Decalmania, Frottage. Assemblage, Brutalist/Modemity/Intervention

Minimalist/Drawing/Painting ARCHAEOLOGY : Mark Dion

Agency/Nature/Subject Matter. Collection of Finds, Metaphors/Interpretations for the lived experience. AN ANTHROPOLOGY OF LANDSCAPE :

Taskscapes/Relationscapes

Anarchism, everyday Aesthetics/The aesthetics of everyday LIVING Pragmatist Aesthetics/Interpretation of Concepts

Materiality, material makes more than one language possible, excess of material. LANDSCAPES for an excess of Interpretation/Politics

EXPLORING THE LANDSCAPE, through/with the CORPOREAL EXPERIENCE of OTHERS

A STRUCTURE INTERPOSED between the sunlight and the interior space it encloses. Poetic abstractions/Physical experience

Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES ILIMINALITY on the absence of material

STATIC ENVIRON I ANIMATED THROUGH THE BODY

THE ARCHITECTURAL SKIN / SURFACE. Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /

VISUAL TOOL / POCHOIR, hand coloured through stencils

SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression

TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building.

Concerned with bringing the material from its physical form into the meta-physical world.

PAVILION

FUSELAGE

THE CAMP/HUT

represents the true reality of things, Deakin.

MOBILITY MOVEMENT

TEMPORAL CONSTRUCTED SPACE

A building component, scaffold, joists and fixings, a surface of absences and the movement of others come together.

MAKING, from form to programme.

WAVENEY VALLEY SCULPTURE TRAIL 2018 RAVENINGHAM

AUDIT OF NOTE FRAGMENTS 27 August 2018.

Archive as a generative form/membrane Tarlaton, mesh, paper, liquid light,

Presenting, Creating, Synergies, that further explore site embodiments. The Politics of Things

Diffractive Practices : Agential Cut, Barad, Learning Spaces,

Brockwood Park School. Reimagining  Education

In The Cave/Canvas of the Cave

ART. began with the questioning of the involuntary, trace of a human hand, an otherness.

Moments, Nowness, The Instant, Actuality,

Habitus of Difference

Robert Mangold text on painting/drawing minimalist interrogation into the spaces around perception Minimalist Works / Working Processes represent fields of energy/causality within our experiential perceptions.

Drawing is the experience of seeing made visible/manifest Rhizomic feedback and flow, Deleuze

Research Horizons,

Culture drives growth, wellbeing, social enterprise and community

Lines of intervals, linerality, chains of codes, intersections, utilities, interventions Causality and Chance of ideas, creative acts, art,nature, becoming, the everyday,

Quotidian/Everyday Interests, Complexities of Contemporary Life. Ambients, Phenomenas, Objects, Subjectivities,

Everyday aesthetics, heuristic practice,

Photography, Social pathology of traces layered into ecologies (Anthropological localities of desire)

Photography, The Body, Life, Death, Flemish Painting, Vivitas, Domestic Life, Nature on reclaiming the void left by the death of the mind

Walking creates its own feedback loop, The Journey, The Return,

The specific, Here and Now

Psychogeography, Dossier, Forensic Study, Inquiry.

Spatial Abstractions : Reflexivity on Reflection. Embodiment on Experiential Subjectivity LANDSCAPES Constituted by creative practice

Walks as erasures, sedimentation, (Gardiner)

Getting Lost, Walking whilst deep in thought/embodiment in the environment

Working Towards a Secular Retreat in the Landscape

Between PLACE and SITE.

Art Making  Agency/Spatial Agency.

Art Poverva, Materiality, Agency, Making, Nesting Building,

NASCENT FINDINGS

Encoding DATA, LANGUAGE

Entanglements of Visual Data and Abstract Language

CATHEDRALS OF INTELLIGENCE

The Urban Documentary,Text, Sebalt,

The River : The Colour of Light

Albers/Colour Perceptions

Vernacular Architectures, Building/Making beyond the design

Footings, Voids, Roof Structures, Cavities, Between Walls.

Sensing Spaces in the very making of the building.

The Architectural plan/model and its proposal became the real virtual space for architectural energy and innovation.

TRANSACTIVE MEMORY Texts, Contents, Particulars, Process,

Working through ideas with things/devices/apparatuses Cognitive Landscapes /Relationalities ? Possible Worlds Subsumed by the causality of relationships/culture

Mies van der Rohe

The Art of Sculpture

Moholy Nagy

The New Vision Abstract of an Artist

Light brings the moment in time to us

Presence, Praesentia, exactitude of light on place and time.

LAND, LANDSCAPE, CLAY

Pot, Shard, Remnant, Culture, Jug, Dominion/Grounded Temporal/Spatial Perspectives

Light/Dark Room : Towards a new Interior Experimental Vision : Research Collage

Aesthetics of the Everyday Creative, Human Praxis

Supportive Material/Texts/Cyanotype Drawings from found objects

SITE / COLLAGE COMPONENTS working/walking, developing a creative spatial syntax

AFFECT

SENSATION / CAUSALITY LIVING

THINKING LOOKING

DRAWING and THE LAW OF STRATIFICATION, the inevitable results of the working of GRAVITY STRATIFICATION OF RECOLLECTION / MEMORY OF THE WORLD.

A Land, J Hawkes.

FACTORING THE TACTILE CONDITIONS OF THE REAL WORLD into perceptual awareness.

PERCEPTUAL psychologist, J.J. Gibson departs from ‘the classical approach to depth or space’ in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.

COLOUR AS CONDUIT.

PERCEPTUAL ENVIRONS / CRAFT MEDIA /IMPROVISATION

PIERCED /DAPPLED NATURAL LIGHT

DIFFERENTIATED SHADOW /SURFACE

EXTRAORDINARY MATERIALS.

TECTONICS AND TEXTILES.

INDEXICAL /GESTALT / VISUAL PERCEPTION

NETWORKS / RESOURCES / AGENCY for the potential of BUILDING SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan

ABSENCES / INTERSECTIONS I GRIDS / MESHES / SPRAYS / MOTIFS ACTUALITY

IMMATERIAL / REPETITION / SINGULARITY ENCLOSURES / ITERATIONS / THINKING FORMS

MINIMALIST SPACES / INTERVALS, tuning objects to construct environments A child ‘concretizes’ its existential space.

Dwelling, Reverberations, Epiphanic Instant, Gaston Bachelard.

Tidbury Ring, field drawings with cyanotype liquid on paper.

A Hut of Ones Own. Heidegger for Architects.

Immaterial Architectures.

SENSING AND SPATIAL PRACTICE

EXPLORING THE LANDSCAPE

Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES / LIMINALITY on the absence of material.

STATIC ENVIRON / ANIMATED THROUGH THE BODY

THE ARCHITECTURAL SKIN / SURFACE, Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /

VISUAL TOOL

SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression.

TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building. Concerned with bringing the material from its physical form into the meta-physical world.

PAVILION / FUSELAGE

THE CAMP / HUT

represents the true reality of things, Deakin.

The building as nothing more than an exposition of itself.

A subjective hypothesis, a drawing developed into an objectivity for experience/learning.

SITE, the undoing of PLACE. (Casey)

BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.

DWELLING / MOBILITY / MOVEMENT IN THOUGHT

TEMPORAL CONSTRUCTED SPACE

TETHERED FOLLY against a fabric of time.

ART AS INDETERMINATE, able to arrest perceptions into different states (becomings) Stone Worlds

Narrative and Reflexivity in Landscape Archaeology Architecture and Ritual, how buildings shape society.

Bought to Light

Photography and The Invisible 1840-1900

CURATORIAL / DEVICE / BENCH / INTERLOCATOR

Jannis Kounellis, Theatre, stage crew shifting actors during a performance. Interconnected, between contexts, opening places between the social fabric.

Making spaces, expanding vision to create spaces ‘between’ in which to write ourselves.

CONTEXT AND CONSIDERATIONS :

ART MUSEUM CULTURE

THE CONTEXT FOR CONTEMPORARY ART IS THAT WE MAKE, EXHIBIT AND VIEW.

MUSEUM DIRECTOR, CURATOR, COLLECTOR, ARTIST

None of that means anything anymore. Artists are now more DIVIDUALISTIC. They discover themselves not by securing a role within the historic narrative of a chosen medium. But by INTERGRATING into a more DIFFUSE ECOLOGY that involves not only making art, but also putting on shows, publishing, organizing events, teaching, networking.

THE STUDIO is no longer a retreat, but it now INTEGRATES, IT IS ALL EXTERIOR. THE NETWORK places the artist as a ’like’ ITEM within an INTEGRATIVE

INVENTORY or DATABASE.

Immateriality/Temporal/Transitions material and movement/Human agency

A Species of Spaces

Construction/Making/Collage

Forming, slowness and repetition, elements of painting

Assemblage, sensation, surface, objects and spaces between them gathered/thresholds

Sheltering/Weathered/ Exploring a fragility of a painting in the landscape

Robert Mangold, Paintings and Architectural Forms

Fragments from sketchbooks.

Ephemeral Architecture

Canvas as spatial verb

Yellow Ochre, Molochite, Gesso, Canvas, Paper, Textiles,Wood, Lead, Nails.

Canvas as folded construction/shelter/place

Operative Design, A Catalogue of Spatial Verbs.

If the everyday can be considered an ecology where passions circulate in a perpetual state of intensification and entropic decline, the empirical self (and not just David Hume’s version of it) is essentially in a state of flux. This posits the human as an organism constantly adjusting to its passionate environment, with a self that is constantly appearing and disappearing, crystallising and dissolving.

Design plays a crucial social role in offering a form of connectivity, a mode of symbolisation, that allows  people to relate to their environment. Exquisitely designed works such as S, M, L, XL can therefore be interpreted not simply as highly aesthetic publications that could be accused of a process of ‘glossification’ — of turning the world into a designer representation of itself.

Rather they  can be seen to be operating in the very space of contemporary culture, a space that is highly visual.

The concept of ‘Camouflage’ can therefore also respond to some of the questions that Koolhaas himself raises. In his essay on the Generic City, for example, Koolhaas offers a critique of the placelessness of the contemporary cityscape, where each city is virtually indistinguishable from the next. The theory  of camouflage, however, would seem to suggest that design itself can overcome this  condition by  providing a mechanism for relating the individual to the environment.

Design here must be contrasted to junk. If the junk  city  has  become the placeless  generic  city, the exquisitely  designed city  can become the city  of a new form of spatial mapping. This  theory  of camouflage is therefore presented not only  as  a retroactive manifesto through which to appreciate Koolhaas’s work, but also as a contribution to the debates which he initiates.

The concept of ‘Camouflage’ will allow us, at least, to move beyond the often simplistic denigration of the aesthetic realm within recent critiques of postmodern culture, and to grasp the complexities involved in our negotiation with the world afforded through that realm. Above all, it will allow us  to recognise the important strategic  significance of aesthetics in contemporary culture in general and in Rem Koolhaas’s work in particular.

The Architectural Plan

An Anthropology of Architecture

Embodiment and Architectural Form
Process-Relational Philosophy

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

 OUTPOST STUDIO 3.16

Agency through sketchbooks

Apokatastasis : Jim Jarmusch, Jozef Van Wissem

Spatial Asperity/Mesh, Membrane and Gauze

Drawing and its attempts to map out/make visible contingent things

Contingency, is what remains, as it comes up against causality/constantly passing through

Objects/Things conceptualized by the exploration of drawing (intervals of blindness)

Linking Surface to the Aesthetic Experience of Space.

Experiences incorporating interests with environmental textures into Art.

Points of Contact/Confluence of Circumstances

Materials bound by contact/canvas

Patina, absences, gesso, textile wrappings, field chalk, exhumed oyster shells, yellow ochre,

A philosophy of Reading

Solitude/Libraries : Cell/Court/Domain

Clay, Waxed Surface, Liquid Rust, Calico,

Sensate Bandages/Windings/Armatures : Corporeal Landscapes/Assemblages/Things

Social Architectures/Anthropologies/Imaginary Projects

Timothy Morton : Realist Magic

The elasticity of sensation, affective and wonderous

Sally Mann : Matter Lent/Collodion wetplate negatives

Corpus, liquid light, flesh, spirit, trace, outline, human body, performative,