Thursday, 30 March 2017

Material/Semiotic Flows/Subjectivity : Towards Disentanglement


Social behaviour is trapped in inescapable patterns of interaction coded by techno-linguistic machines, smartphones, screens of every size, and all of these sensory and emotional devices end up destroying our organism's sensibility by submitting it to the stress of competition and acceleration.

Franco "bifo" Berardi

And : Phenomenology of the End

Signs and Machines : Capitalism and The Production Of Subjectivity
Maurizio Lazzarato









Sketching out an aesthetic genealogy of capitalist globalization. Berardi shows how we have arrived at a point of such complexity in the semiotic flows of capital that we can no longer process its excessive currents of information.


Wednesday, 29 March 2017

Drawing/Sociology : Figuration and Flesh

Drawing/ Being Part of Space and Time : A DISPERSION
Antony Gormley

Drawing is the most immediate way of making your ideas, sensations, and information explicit.
Euan Uglow

What do we look for from the nude today?
Drawing/Man : Oskar Schlemmer

The use of pure line compels the artist to a process of abstraction.
Energy/Tension : The Social Form of Living Flesh

To create a new intellectual image of reality

Line has an autonomous relationship with surface (a rhythmic lineation)
Rhythm is the means by which all kinds of movement are delineated.
It follows that the physiological movement of the body is rhythmically organised.

The figuration of the contemporary body through abstractions and representations.

INTERIOR : Environment, physical and psychological realms.

INTERIORITY : SELF.

The Picture Plane
Composition, elements and scale
Context-Content-Beginnings
Relationships- Figure- Ground, becomes psychological state of a figure both becoming and entropic

All pictorial representation is an intellectual and visual organisation.
Flesh follows the physiological movement of the body and is rhythmically organised/balanced.

ANTHROPOMETRICS
THE FIGURE IN SPACE
Performative, Sociological ; Structure and Agency (Klein)(Duality)
Measurement, Reach/Movement/Proportion

Making relationships between the spatial figure and the spatial arrangements of the picture plane. Bringing the spatial figures into the system of axes of the picture space.
Schlemmer's plane and spatial prospects contain architectonic motifs, which are presented orthogonally or in exaggerated perspective.

Anthropomorphic Collage
Morn Hill, chalk grave/leper hospital
Joseph Beuys/Reg Butler





















Deleuze, Francis Bacon
Haptic Vision/Colour Space
Light is time, but space is colour.

Carnality/Sensation/Logic/Colour Space
Entropic/Seeing/Haptic/Violence

Tuesday, 28 March 2017

Translucent Materials/Glass,Text,Film : Timbre/Tone and Colour through Architectural Experimentation


Learning Space (Canterbury School of Architecture)

Darwin, Objective, Scientific, empirical, quantifiable.
Jeanette Winterson




















Blueprints : Anthropological Forms

We sense the reality of something precious and mysterious, which reaches out to us with a claim that is in some way not of this world.

This is no longer a person, but the 'mortal remains' of a person. And this thought fills us with a sense of the uncanny.



The body is being reclaimed for this world, by the rituals which acknowledge that it  also stands apart from it.

The human form is sacred for us because it bears the stamp of our embodiment.

Beauty, Roger Scruton

Botanical traces with leper graves
Cyanotype material on paper 1400x2400cm





Monday, 27 March 2017

Hortus Conclusus : A Serious Place

Hortus Conclusus : Enclosed Garden
Often translated as meaning “a serious place”
To construct a contemplative room, a garden within a garden.
Pavilion as both a monumental physical structure and as a site of emotional encounter.





With a refined selection of materials he has created a contemplative space that evokes the spiritual dimension of our physical environment, in so doing he is successfully emphasising the role the senses and emotions play in our experience of architecture. (Zumthor 2011: 15)

Enclosed all round and open to the sky.
A garden in an architectural setting.
“ Sheltered places of great intimacy where I want to stay for a long time.” (Zumthor 2011: 15)

Every plant name listed here evokes a distinct image; with each of them I associate specific lighting, smells and sounds, many kinds of rest, and a deep awareness of the earth and its flora.

A garden is the most intimate landscape ensemble I know of. In it we cultivate the plants we need. A garden requires care and protection. And so we encircle it, we defend it and fend for it. We give it shelter. The garden turns into a place.

There is something else that strikes me in this image of a garden fenced off within the larger landscape around it: something small has found sanctuary within something big.
(Zumthor 2011: 15)


Illustration of “Orchard” from Bible of Wenceslaus IV,Vienna, Austrian National Library

Depicts in the manner of an illuminated manuscript, the husbandry and community of the medieval workforce in the secure and sheltered space of a walled garden. This pastoral craft/gathering is evocative of Zumthor’s Hortus Concluses.

Working with ones hands, with the earth in sheltered spaces of a pastoral community.

Zumthor underscores this pastoral setting when he places a pavilion at the centre of the garden; he talks of future meeting there, of looking forward “to the natural energy and beauty of the tableau vivant of grasses, flowers and shrubs. I am looking forward to the colours and shapes, the smell of the soil, the movement of the leaves.” (Zumthor 2011: 15)

The Vintner’s Luck, Elizabeth Knox.
Tasting the soil in the wine, the soil and the wine are of the same substance, from the same locality; they are bonded together by the landscape.

Gardens Are Like Wells: Alexander Kluge
Inside every person (however serious or playful) lies an “enclosed garden”

Monasteries in medieval Europe were wells in which the clear waters of antiquity mingled with the dark waters of faith. At the centre of these monasteries was a garden, the most important part of which was enclosed. It was here that the most beautiful plants and medicinal herbs were concentrated. (Kluge 2011: 19)

Interestingly Kluge notes that these gardens were not everyday places, they were “timeless” because they were not subject to the general daily rituals of monastic life. These gardens were dedicated to the Blessed Virgin, but exposed perhaps to other texts, Homer, Ovid or the Gnostics. This relationship of literature finding a place of contemplation in the enclosed garden speaks perhaps of an “innerness”, an ability to unite mind and eye in the confusing realities of our age.

Civilisation and societies need ground that is uncultivated, gaps that are not subject to the principle of unity, something that is sufficient unto itself, which we do not consume: a sacrifice. Cities need spaces of piety. (Kluge 2011: 21)

“We need places in which we can engage in acts of mourning” Richard Sennett
(Sociologist)



Gardens of Information: DCPT (Development Company for Television Programmes)


Using the emblem of the Hortus Conclusus/The Enclosed Garden to stand for the relationship between the barren wastes on the one hand, and the happy isle on the other.

“To rescue facts from human indifference”

“To make gardens out of raw material and the bare bones of information.”

“A precursor of individualism, but has unmistakable traits in a way individualism never can.” (Kluge 2011: 21)


Spatial Practices for the Next Millennium.

Forming relationships not through superstructures, concepts or societies, but through inclusive structures/practices and localities. The Hortus Conclusus could stand for this type of concentration of identity (an inquiry, a person and a practice) within an intimate setting or situation.










Sunday, 26 March 2017

Caruso St John : The Phenomenology of Construction


THE PRESENCE OF THE BUILT OBJECT IN THE WORLD THROUGH THE MANNER IN, WHICH IT IS BUILT.

Caruso St John : The Phenomenology of Construction


At the end of the twentieth century, with late capitalism more widely accepted as the economic model than ever before, the ideology of newness has become transparently associated with the workings of the market. Recent interest in airports, shopping malls and infrastructure emerges from an idea that it is these places where the processes of the contemporary economy are most brutally apparent. For architects to engage in these programmes is for architecture to become a commodified product and to be subject to the tyranny of the new.
Adam Caruso, The Tyranny of the New.

History is the raw material of architecture.
Aldo Rossi

Originality does not consist in making up new words that do not have the fine character of experience, but in using existing words well. They can be sufficient for everything.
Auguste Rodin

A radical formal strategy is one that considers and represents the existing and the known. In this way artistic production can critically engage with an existing situation and contribute to an ongoing and progressive cultural discourse.
Adam Caruso, The Tyranny of the New. Pp70-73

RADICAL FORMAL STRATEGY
THEORY PRAXIS MAKING

DEEP ECOLOGIES OF CONSTRUCTION

RELATIONSHIPS BETWEEN:
VENACULAR STRUCTURES and HIGH STATUS ARCHITECTURE
SPATIAL CONTINUITY: MAKING, DWELLING

TRADITION

There is no compelling evidence as to why architecture should reject more than 400 years of working within a liberal arts context, nor is there compelling evidence that architecture is any more marginal than at other times over that period.
Adam Caruso, The Tyranny of the New.

Continuity involves the legacy of existing buildings produced by architects as well as the much larger legacy of existing, vernacular structures. In trying to connect these things, Caruso St John are part of a tradition that includes figures as diverse as Adolf Loos, Auguste Perret, Alison and Peter Smithson, Gunnar Asplund, Sigurd Lewerentz, Mies van der Rohe, Roger Diener, or Hans Kollhof. These architects have all questioned the abruptness of the radical break inherent in the formation of orthodox modern architecture.
Eric Lapierre, Caruso St John, The phenomenology of construction.
CONSTRUCTION

Adam Caruso on the medieval ruins of Fountains Abbey, Yorkshire.

Today the nuances of language that make up these architectures only exist as an intellectual discourse and do not operate at the emotional level that would have engaged the original inhabitants, or audiences of these buildings. And yet we are still emotionally affected by these structures. Denied access to the specific culture of their iconography. We respond, at a more visceral level, to the more general culture of their construction. When this formal language ceases to be novel, a building becomes part of a more normative condition, the condition of not ‘being new’ and its qualities increasingly emerge from the more long-standing and stable world of construction.

Adam Caruso, Towards an Ontology of Construction, KnittingWeaving Pressing 2002


By ceasing to be new, a building attains a more ‘normal’ condition, it becomes finally more banal, from a viewpoint that has much in common with Perret’s famous aphorism on ‘a work that would seem to have always existed’.


AFFECT SPACE POLITICS : NIGEL THRIFT

REVERBERATIONS : BACHELARD

RUINS : MARC AUGE

REFRAINS : AFFECT READER

SPACES OF ENCOUNTER : RE-DISCOVERY OF SPACE
CLAY : INNERNESS, CRAFTED FROM THE VALLEY/DWELLING/SITUATION

CONSTRUCTION AS THE APPLICATION OF MATTER

PHENOMENOLOGY vs. CONSTRUCTIONAL truth


THE QUESTION OF RUINS or the differences between the architectural ideologies of Auguste Perret and Caruso St John.

Beautiful architecture makes beautiful ruins, affirms Perret, since in ruins, only the structure remains visible.

When Adam Caruso observes the ruins of Fountains Abbey, he is concerned with physical matter.

The ruined state of the buildings serves to exaggerate the presence of material. The feeling is that of an enormous weight drawn out of the ground into the volume of the valley and held in place by a matrix of structure whose schema is described by the pattern of stone joints.
Adam Caruso, Towards an Ontology of Construction, KnittingWeaving Pressing 2002

The essential change in perspective between Perret and Caruso St John is that of a construction as structure to a construction that is the application of matter. Perret observes the organic dimension of buildings from a distance that makes the structural framework’s overall logic intelligible.
Caruso regards buildings much more closely, at a distance/closeness that enables him to grasp their tactile dimension: he looks at them with his hands. In Fountains Abbey, it is the brickwork joints that are essential; on the rear façade of his Van Nelle factory building, it is the micro-topography of the façade.

Luis Moreno Mansilla remarks that buildings by Sigurd Lewerentz, one of Caruso St John’s main inspirations, can only be seen close up.

For Caruso St John, construction does not refer to a constructional technique, nor to the coherence of its application as a technique, but rather the presence of the built object through the manner in which it is built.

Interestingly Perret’s positivist and absolute approach belongs to a mindset that excludes all form of doubt or ambiguity. To this approach, Caruso St John propose a phenomenological approach in which construction frees itself from pure technological logic to find meaning, both inherent and more relativist, in the field of architecture itself.



INNERNESS/AFFECT : THE CHANGE OF PERSPECTIVES

SURFACES, Juxtaposed without articulation.
QUESTIONING STRUCTURAL LOGIC, by playfully obscuring it.

INCREASING THE BUILDINGS PHENOMENOLOGICAL AND PERSPECTIVE COMPLEXITY

CONSTRUCTIVE DIALOGUES/CLADDINGS Through CRAFT, PROXIMITY, INTIMACY and SITUATION.


The depth of the exposed beams in the exhibition areas is not proportional to their respective spans, but to the overall heights of the rooms in question. Walls with claddings of vertical timber boards alternate with bare concrete walls that seem to have been cast in shuttering identical to the timber cladding. These two surfaces are sometimes juxtaposed, without articulation, and question structural logic by obscuring it, thereby increasing the building’s phenomenological and perspective complexity.
New Art Gallery, Walsall. Caruso St John

The load bearing walls appear to be folded along the complex contours of the non-orthogonal site. At the corners, bricks are cut and bonded together with resin to adapt to the geometry, while maintaining the size of standard bricks. Although they are load bearing, these walls become surfaces that have tactile and phenomenological qualities as well as being constructed surfaces with real architectonic weight.
The Brick House, London, Caruso St John
ATMOSPHERE: CLADDINGS and ARCHITECTONICS.


CLADDINGS and their ability/capacity to create ATMOSPHERES

AESTHETICS AND SUBJECTIVITY: KANT to NIETZSCHE ( Andrew Bowie)


The artist, the real architect, has firstly the feeling of the effect that he wants to produce, and then he imagines the spaces that he has to create. The effect that he wants to create on the beholder, will come from the material and its form.
Adolf Loos

It is through the splendour of truth that the building attains beauty. The truth is in everything that has the honour and task to carry or to protect. He who hides a pole makes a mistake. He who makes a false pole makes a crime.
Auguste Perret


The originality of Caruso St John’s work lies the fact that this atmosphere is created by claddings that have a strong architectonic character. As opposed to Loos, they use paint very rarely, and prefer to use construction materials in the traditional sense of the term: brick, concrete and wood. They do so in order to continue to create architecture, not as a spectacle, but by merging two traditions –that of Perret’s structural rationalism and that of Loos’s claddings –to define an architecture that speaks to us of the contemporary world in a truly critical manner.

Eric Lapierre, Caruso St John, The phenomenology of construction.



Architecture, Nature and Subjectivity.

Atmospheric ecologies/architecting through situated learning. 









PROXIMITY OF SPACE
INTIMACIES IN SOCIAL SPACES
SCRIPTORIUM

THREE STAGE METHODOLOGY (Kikutake) Mitsuo Taketani
KA ‘ESSENCE’
KATA ‘SUBSTANCE’
KATACHI ‘PHENOMENON’

Characteristics of an architect
CHI ‘BLOOD’
TACHI ‘TEMPERAMENT’

KATACHI ‘EMBODIMENT’

Saturday, 25 March 2017

Construction : A Visual Dwelling Space around Building

CRAFTSMANSHIP AND THE PHENOMENOLOGY OF CONSTRUCTION ON CREATIVITY


On Craftsmanship, towards a new Bauhaus, Christopher Frayling. 2011

The Craftsman, Richard Sennett.2008

Caruso St John: The Phenomenology of Construction, Eric Lapierre.2006

Adam Caruso on the medieval ruins of Fountains Abbey, Yorkshire.

Today the nuances of language that make up these architectures only exist as an intellectual discourse and do not operate at the emotional level that would have engaged the original inhabitants, or audiences, of these buildings. And yet we are still emotionally affected by these structures. Denied access to the specific culture of their iconography. We respond, at a more visceral level, to the more general culture of their construction. When this formal language ceases to be novel, a building becomes part of a more normative condition, the condition of not ‘being new’ and its qualities increasingly emerge from the more long-standing and stable world of construction.
Adam Caruso, Towards an Ontology of Construction, KnittingWeaving Pressing 2002

Waverley Abbey. Cistercian Monastery

The peculiarity of the ruin is defined in that it demythologises the impression of seamlessness and linearity. In the ruin, we are at once removed from dichotomised and levelled down space by entering a place at the threshold of experience. At the threshold, we return to the pre-spatial, if primordial, landscape, yet to submit to the suppression of space and site. Instead the place of ruin creates protrusions, which desolates the category of clean space.

The Aesthetics of Decay, An Uncanny Place. Dylan Trigg 


KIEFER AND CHIPPERFIELD TALK SPACE AND CREATIVITY
Discussion between the artist Anselm Kiefer and architect David Chipperfield.
Beginning with Kiefer’s extraordinary studio complexes in Germany and France, the discussion roamed over questions of materiality, the nature and feel of spaces, scale, history and the ruin. Kiefer continues to discuss the ways he has shaped his three successive studios, and their landscapes both as a place and as a place in which to work.

DAVID HILLS OF DSDHA DISCUSSES THE NEW STUDIO SPACE OF EDMUND DE WAAL.
British firm DSDHA has created a second new studio and gallery for ceramic artist Edmund de Waal within the shell of a converted munitions warehouse in south London.

(Royal Academy of Arts)

Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency

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

 Andover Installation : October at the Chapel.

Gridshell
Weald and Downland Open Air Museum

Drawing, tissue paper, tape, body outline with astronomical data on paper.

Markings over Layered Drawings #1

Template and Form 2010. The Yard,Winchester.

Pastoral Space: Material, Inquiry and Craft.#2
Drawing intervention and speculative sculptural environment.

Body Outline with Stones and Threads : Mapping.

PB145023a : Mapping. Human Filament

Reverberations from excavated land #5

Speculative vocational processes #8
http://cargocollective.com/russellmoreton/To-consider-time-as-an-entity-we

Hidden Curriculum #1
a thousand plateaus
Deleuze, Guattari

Assemblage
Becoming
Body Without Organs
Nomad
Rhizome
Smooth Space
State

War Machine























Friday, 24 March 2017

Photography/A Fragmentary Whole : The Temporal Flow of Things


Postmodern : Ever Changing, Fleeting, Positive, Nihilistic,

"There are no simple concepts. Every concept has components and is defined by them.
It therefore has a combination [chiffre]. It is a multiplicity, although not every multiplicity
is conceptual...
Not only do Descartes, Hegel, and Feuerbach not begin
with the same concept,
they do not have the same concept of beginning...
Every concept has an irregular
contour defined by the sum of its components,
which is why,
from Plato to Bergson,
we find
the idea of the concept being a
matter of articulation,
of cutting and
cross-cutting.
The concept is a whole because it totalizes
its components, but it is
a fragmentary whole.
Only on this condition can it escape the
mental chaos
constantly threatening it, stalking it, trying to reabsorb it."


-- Gilles Deleuze and Felix Guattari, What is Philosophy?, pp. 15-16.

“Philosophy is really homesickness,” says Novalis: “it is the urge to be at home everywhere.”

Literary cartography is not a literal form of mapmaking, after all; rather, it involves the ways and means by which a given work of literature functions as a figurative map, serving as an orientating or sense-making form.

Lukács’s Literary Cartography:
Spatiality, Cognitive Mapping, and The Theory of the Novel
Robert T. Tally Jr.


Path : Circular, Stonehenge

Transparency,time and matter #2

Camera Obscura : Kilquhanity 2011. #4

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

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

Blue Spaces : White Absences #2
https://visualartpractices.wordpress.com/

Walking into Emergent Landscapes : Covehithe Beach
Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,
Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,

London/Millennium Bridge : Architectural Abstracts/Drawing Traces