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,

Paintings being living emotions. Mark Rothko

The atmosphere of a work of art, what surrounds it, that ‘place’ in which it exists – all this is thought of as a lesser thing, charming but not essential. Professionals insist on essentials … not understanding that everything we use to make art is precisely what kills it. This is what every painter I know understands. And this is what almost no composer I know understands.

The Music of Morton Feldman, reprinted from his essay  “The anxiety in art”

OUTPOST STUDIO  July 2021

Loose Assemblages : The Movement of Ideas and Feelings

Touch and materials as a normative support/exploration for the theoretical gaze

Bento’s Sketchbook : John Berger

Existence appertains to the nature of substance.

A substance cannot be produced from anything else: it will therefore be its own cause, that is its essence necessarily involves existence, or, existence appertains to its nature.

Ethics, Part 1, Proposition VII, Proof

Conscious minds arise from establishing a relationship between organism and an object-to-be-known. Damasio

Architectural Body

Organism-Person-Environment

Drawing is a  form of probing. And the first generic impulse to draw derives from the human need to search, to plot points, to place things and to place oneself.

The Human Body through drawing and philosophy

Berger/Spinoza 141

Matters of a discursive consciousness are explicit and explainable, and the line between discursive and practical consciousness is fluctuating and permeable, both drawing on the other in the act of agency/making social.

The defining point of agency is namely its potential to transform the given.

Generative energies, entanglements, sensorial diversions from an open studio window overlooking Anglia Square

Improvisations/choreographed with the music/ambient noise are exploratory encounters  between flesh and sound

A hut of ones own (within and bounded by others), crafted and organized around simple processes and interactions within a fallow site given over to creative ecology of energies and enterprise

Vibrant yet curiously passive form of  urbanism

Affectivity as a mimesis of lively transfers between things, humans and non-humans

Human subjectivity : Mimetic Encounters/Explorations

Art works by gathering up forms and materials for affective experimentations in subjectivity

Corporeal unconscious animated by sensitivities/sympathies, a putative affinity (haptic) between certain things including bodies and organs which makes them liable not only to be similarly affected by the same influence, but more especially to affect or influence one another.

Intentionality/Sympathy/Sentiment/Difference

Inducing a particular set of ethical/political/social responses in actor/social audience

Mimesis : Paradox or Encounter. Jane Bennett

Calling a sympathy/subjectivity between coloured cloth/wallpaper/display cabinet and human flesh

Francesca Woodman

Mimesis and suggestion in the social,enacted through layers of mediation surrounding humans, objects and non-humans.

Camouflage. Neil Leach

Mimesis

Sensuous Correspondence

Sympathetic Magic

Mimicry

Becoming

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 Leibininger, Bricoleur Bricolage. AA 2013

Inquiry is essentially the way of learning.

On Learning ‘The Cultivation of a Good Mind’ J. Krishnamurti, Brockwood 1963

THE WAVERLEY INQUIRY

ROOMS AS EXPERIENTIAL OUTPOSTS

Translations from Drawing to Building.

Robin Evans.

Interiors crafted as a palimpsest of augmented realities.

Robin Evans, Figures, Doors and Passages.

The architect is Not a Carpenter:

On Design and Building, a talk by Tim Ingold Fieldwork on Foot: Perceiving, Routing, Socializing

Jo Lee, Tim Ingold.

The Perception of the Environment,

Essays on Livelihood, dwelling and Skill, Tim Ingold.

The Aesthetics of Decay

Nothingness, Nostalgia, and the absence of Reason, Dylan Trigg. The Projection Room (the darkened room, camera obscura)

Ruin In Architecture and Cinema, Kiefer, Pallasmaa

Sculpting in Time, Tarkovsky

The Artist/’Monk, Andrei Rublev (Tarkovsky 1966)

Six Memos for the New Millennium, Italo Calvino Architecture as a stage for the effects of an immersive cinema. Palimpsest

Edward De Waal, Antony Gormley, Studio Spaces designed by Architects. Tony Fretton on Retreats, Creative Centres and Exhibition Spaces. Herzog and De Meuron, Working Models, Surfaces, Images and Materials.

Subversive Libraries, researching between the walls of culture and politics.

A HUT WITHIN THE INFLUENCE AND NATURE OF ARCHITECTURE

The tendency of technological culture to standardize environmental condition

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 Description of Work

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 inquires. The design processes of interiors have been employed as a tool to both critique and to create 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 as a 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 i 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, 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 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 and the use of pinhole photography and film footage further explore 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 into a built environment. The small ‘Scriptorium’ conceived as a space as a refuge, an intimate minimal construction that features a doorway and an interior that contains a place for objects, perhaps books, as well as a small sitting area. This construction, an open cell perhaps is evocative to a state of contemplation between 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 is attempting 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 Waverly 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.

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 inquires 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 a research of both architectural themed texts and documentation of the site, and creative practice involving photography (digital, analogue and film) 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 other revealed the very boundaries that the historic site engenders, some playful other 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, that would use the Abbey and its surrounding ground appeared to be a project of vast diversities 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 palimpsest being one of them. This promoted the idea of a reading room, as 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 over written by newer ones ‘annotations’ and it could be a scaffold of developing ideas clearly visible merging as adaptations into the very usage of the site.

These re-imaginations through the notion of palimpsest seemed filmic and as such they would able to display a vast amount of diversities and subject matter, a library of recourses that would require users or 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. The theatre of research became the vehicle in which to see if this collaboration might be possible.

The use of the image and text in my architectural collages allowed me to visualize associations, to create the possibilities of interior spaces that might be manifested into the built environment. The use of the collage in Architecture is widely acknowledged, architects from the likes of Mies van der Rohe, Daniel Libeskind and Rem Koolhaas. The ability of the collage process to juxtaposition fragments, images and texts from irreconcilable origins into an experience, that is visual, tactile and time-based makes it an interesting tool into the realms of architectural design. Collage begins to visualise not only the structure of spaces but also there 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

Both the Scriptorium and The Theatre Of Research exist only in the form of the exhibition presentation. What they singularly of 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 that is equally curios and dismissive. These objects and the interior spaces they promoted seem stilled and stalled, as much they appear beyond reach as if the authenticity of their materials and construction have some how been subsumed by their stature and scale. The issues and qualities of which they are attempting to speak of seem reduced by the hegemony of vision, there is little hapicity and time to encounter, only it seems by investing narratives can we begin to re-enact the spatial encounter.

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.

Art works 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

Peter Lodermeyer.Time, Symposium Amsterdam 2007.

Personal Structures, Time, Space, Existence.

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 un-certain 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 inquiring, 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 the digital tooling removes the makers 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 the structure, to make it serviceable for use. The Scriptorium has analogues to the notion of a fire-place and its chimney stack. It is a the heart of a building the place of warmth, of dialogues and under the influence 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 fire place and chimney from the demolished cottage. Around this central element they developed the beginnings of their Modernist (Brutalism) pavilion, an architecture clad with glass, wood and zinc and 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, as place from both to look out from and also to look in. The mobility or need to be re-assembled 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; in as much as the usual distinction between the unpredictable forces of nature outside and the predictable domestic spaces inside. This prompt further investigation into an  architecture that blurs the boundaries of both architecture and nature, this could be further explored through the notion of quixotic gestures, art and performance that can capture the experience and the experiential engagement with the natural elements. The Scriptorium becomes the centred structure of remnant that is 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’ related to the mobile living parametrics of the body.

Frederic 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 to think we could do them justice, and too close that we could ever 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 inquiry into the world we inhabit. The Theatre of Research attempts to establish some sense of a community that can do field work that invigorates the perception of the environment. My own interests are centred through experientially and mindfully exploring voids, cavities, and spaces between things, together with 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.

Through experiencing familiar images, smells, sounds, and textures, but also through making certain familiar movements and gestures, we achieve a certain symbolic stability. Disrupt that familiar world, and our psychic equilibrium is disturbed. From this we can surmise that home, and the operations performed at home, are linked intimately with human identity. Architecture, it would seem, plays a vital role in the forging of personal identities.

Neil Leach. Camouflage

Analysing the desire to blend-in with our surroundings

Beyond the limits of academic levels of discourse and learning

Building/Working with Theoretical Objects in Architecture

The Scriptorium would need to collect up and question considerable 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 the Peter Brook who deliberately demolished his avant-garde theatre building Bouffes du Nord in Paris so as he could create a more emotionally responsive space for theatre. It is this under the influence of the Abbey, which 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 re-defined its own architecture from one of form into that of experience, this sense of liminality or immateriality that constitutes itself as the 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

Saturnian Form : Lead and Library Dates
Russell Moreton

Emilio Prini
The filter and welcome to the angel, 1967
Environment with participants, doves, artificial green grass, socks, ultra-violet light.
Dimensions variable,
Installation, Studio Bentivoglio, Bologna.

Artist-run exhibition space

Emilio Prini well illustrates the spirit of Arte Povera: the artist is not the creator of artefacts, nor even of a documented ‘happening’. In the transferral of energy and subjectivity into matter or an event, the work exists in the instant it comes into being and is simultaneously received.

To document his work in photographs and present these as a record of it contradicts the very basis of Prini’s art.
Arte Povera, Themes and Movements
Carolyn Christov-Bakargiev

Intermedia Chart
Dick Higgins
Molvena, Italy. 1993