i am starting a drawing right now that is what i am referring to as ‘a non euclidean stroll amongst conducting bodies’, it is a series of perspectival views that pick out synecdochic components of the spaces (eg. a private box for the theater, a materials storage locker for the studio) and place them in relationships through which they blend into one another, as in a pictorial cognitive map, and are then given spatial potential by a series of punctuations and prepositions.
i am starting by just composing sketch thumbnail views and then constructing them on a single sheet and developing their relationships. i see these moments as anchor points of not only the space they describe but also a series of stations in the building that can be seen from pertinent other bodies and linked spatially, visually, materially, etc. these points are also where synaesthetic suites coalesce. each sketch i put up will have the prompt and qualitative description of the space i was trying to approach.
performance theater: consumption (by a collection): in a volume, aggregated, focused, upon a diorama: internal registered against internal, external registered against external: asyndetically linked to the stage, the outdoor theater, the gallery, and the outdoor gallery: housed by faces, receptive and directional, the whole is implicit, layered: one catalogues a synecdoche in the private theater box.
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proscenium stage: performance (by a troupe): in a volume held loosely against a surface, panoramic, with virtual internal foci: internal potentially registered against external: asyndetically linked to the theater, the outdoor theater, and the dressing rooms: established by a surface object, projective out of its own space, exclusive, enfilade: one catalogues a synecdoche in the curtain and floor lights.
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dressing rooms: production (by an individual or operator): within a focused object, one in a string: external registered against internal, internal registered against internal: asyndetically linked to the stage, the outdoor theater, and the apartments: connoted by its profile, aggregated, exclusive as an object, intimate in scale and presentation, tethered: one catalogues a synecdoche in the vanity.
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blackbox theater: performance (by a troupe), consumption (by a collection): in a volume, described by surfaces, each of which is an object, isolating internal foci: external registered against external: asyndetically linked to the studios, the performance theater, and the art gallery: connoted by its profile, a receptive mute shell: one catalogues a synecdoche in the blackness of depth.
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outdoor performance theater: performance (by a troupe), consumption (by a collection): upon a surface, profiled against the void of action, a space of focus and virtual foci: internal registered against external: asyndetically linked to the stage, the outdoor gallery, the dressing rooms, and the event hall: held by an articulated topography, directional, unbound: one catalogues a synecdoche in the rake of the seats.
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art gallery: performance (by and individual, collection, or troupe), consumption (by an individual, collection, or troupe): within a volume, receptive surfaces describe a field of introverted foci: internal registered against external, internal registered against internal: asyndetically linked to the event hall, the outdoor gallery, the studios: through a panorama of dioramas: one catalogues a synecdoche in a vitrine or wall text.
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painting studios: performance (within a collection), production (by an individual): within an open volume, an ephemeral aggregation of internal foci, tethered to fixed stations: internal registered against external: asyndetically linked to the cafe, the outdoor gallery, the dressing rooms, and the art gallery: defined by a surface of stations, as a movement towards light: one catalogues a synecdoche in the storage of materials.
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sculpture studios: performance (within a collection), production (by an individual): within an open volume, an ephemeral aggregation of internal foci, tethered to fixed stations: internal registered against external: asyndetically linked to the cafe, the outdoor gallery, the dressing rooms, and the art gallery: gauged against surfaces, the whole implicit from each station, incompleted profiles against external registrations: one catalogues a synecdoche in the storage of materials.
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printmaking studios: performance (within a collection), production (by an individual): within an open volume, an ephemeral aggregation of internal foci, tethered to fixed stations: internal registered against external: asyndetically linked to the cafe, the outdoor gallery, the dressing rooms, and the art gallery: bound objects, explicit in panorama, patterned in individual components and chambers: one catalogues a synecdoche in the presses.
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outdoor gallery: performance (by an individual, collection, or troupe), consumption (by an individual, collection, or troupe): within a volume, receptive surfaces describe a field of introverted foci: internal registered against internal, internal registered against external: asyndetically linked to the event hall, the art gallery, the studios, and the outdoor theater: traced across an articulated topography, profiles before registrating features: one catalogues a synecdoche in a path or podium.
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from email: i have some ideas about how these little ‘vignettes’ can be used to inform the plans, ie spatial relationships, above, next to, inside etc, but also maybe as base drawings for material collages that could take the place of a computer model, which i do not want to build, i may take a stab at something like this soon, i find the prearticulated surfaces found in your boy’s fotos interesting as potential cutup cladding for the rearticulation of perspective skeletons, i guess i am not seeing this thing as a coherent building at this stage, i definitely see things threaded together spatially, but not with any identifiable singular identity or form, almost a mess within which you can pick out these bodies, as zones or as fragments that are strewn across zones.
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photolab: production (by an individual): contained by an object, an erased route, surfaces terminated: external registered against internal: asyndetically linked to the studios, the apartments, the event hall, and the art gallery: a continuous profile, excluded to remain discrete, cellular: one catalogues a synecdoche in the red light.
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event hall: performance (by an individual or troupe): across an open volume, an ephemeral field of roving panoramas, focused inward: internal/external registered against external, internal registered against internal: a disruption, a hypothesis of the asyndeton: a nexus orbited by a layering of spectators, the extent only implicit through occupation: one catalogues a synecdoche in the storage of furniture.
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…stage, i definitely see things threaded together spatially, but not with any identifiable singular identity or form, almost a mess within which you can pick out these bodies, as zones or as fragments that are strewn across zones.
as always, i agree with the contention that situations and vignettes best represent our insights into the problems posed by southpoint; that is why i gave up novels and became a poet. i admit i have not peeped the presentation requirements, so i don’t know if they demand building plans and site sections, but unless we have already been declared the victors, i consider those to be a poor expense of energy and time. i appreciate the method you have used of describing links between spaces – text on each image; i find it to be a powerful step forward of the attempts to wed narrative and architecture(?) first mapped out in marquis. if we end up having to place dwgs with arrows to points of a map of the development, i think this preliminary work may be beneficial for our upcoming publication.
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i have no doubt that i could prepare a plan, and i would have no objection to doing so, provided it was in the spirit of the work done so far. i dont think it would hurt. one could see it less as a spatial organization, or something that kills the moments enumerated above, and more as an amplification of the potential of the moments, by creating even more threads fanning out from them to each other, and to the city. it could utilise the textual prompts above and the physiognomy of the spaces, in a schematic or primary form, to situate the moments on the island, where they might gain more power, similar to the function of the wall layout in marquis. that being said, i dont think there are any presentation requirements other than a 30×40 board.
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offices: production (by an individual): behind an object, each focused, strung together dioramas: external registered against external, internal registered against external: asyndetically linked to the studios, the apartments, the dressing rooms, the box office, and the art gallery: individuated satellites, explicit, shielding a non-sequitur volume: one catalogues a synecdoche in the individual’s landscape.
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i see a few ways to proceed from here. one involves ashley’s terraforming and some previous inquiries by myself about trajectories and piloting. this would be a planning exercise that looks at how these vignettes might be related to one another. i mentioned this above. i like the idea of it being still non-analytical (as opposed to what an architectural plan or other projective drawing might be) and conveying some aspects of the space and its character to bolster the vignettes, but also that it does so in a context, even if it is one that we construct (terraform). the other, which i am continuing to do now, is to thread the vignettes together in a manner similar to what i am proposing for the plan, as seen in an earlier post. and as i mentioned here, my goal for this would be to scan this in and collage textures, surfaces, and further poached vignettes into the drawing to create a potential narrative tapestry, that, though unrelated to coordinate space, could inform, or posteriorly correspond to a coordinate based potential narrative.
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detail
here is a first, minimal, cursory, sketch, over a bad photo, of the drawing, of what i vaguely alluded to, in passing, somewhere above. some curtains from the marriot have been dyed indigo and hung at the rift into the black box pit.
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i see a few ways to proceed from here…
my dreams of terraforming may be taken literally, if you see fit, but with the ‘ruins’ in mind, i have been thinking more about accretion (rubbish, marks, artefacts) upon and weathering (erosion, lifting) of settlements, which i tried to convey within my ‘sketches’ of areas put together and inside materials/spaces at hand – and then worn out. do the sketches need to be and texturized with ‘accurate’ materials – a drape for a drape?
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i found this; it was to be an outdoor gallery; is that the same as your sculpture garden? i guess it can be a loading dock.
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i dont think they need to be accurate, i am not able to be as fanciful as others, but i was just trying to show an example of the ‘technique’ i was referring to. it might be more interesting if, as i said, prearticulated material samples were grafted in, and potentially erased and layered over the skeleton.
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further comments regarding ‘conducting bodies’ may be found/placed in ‘conducting bodies con’t‘
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08h14m59
28.Oct.2005