those vignettes in conducting bodies are synecdochic components of greater programmatic spaces. they are icons, spatial punctuation that guides and shifts movement through and past spaces but also gives individual frames from which to perceive other objects and the spaces they compose. what then, drives the organization of the icons? what sort of grammatic narrative? and how is it composed. i am composing some sequences to weave together, or leave as potential sequences (stranger’s paths) in text space or on the island. these prepositional sequences begin from each conducting body, but contain others. they in turn, could be woven into a fabric of relationships by overlaying and sprawling out from singularities (theater, box office, event hall) in each sequence, with chance and redundancy (perhaps installing more ruins on the island, or painting studios in the middle of the theater, we shall see). see following.

theater

. (within theater), down – through stage [toward 34th street] – out onto outdoor theater [east river around] up across through outdoor gallery [despite ruin], (up – amidst gallery).

stage

- upon stage – up round between theater, [toward williamsburg bridge] past ((dressing rooms above and beside) regarding) outdoor theater across -

dressing rooms

. (behind dressing room), out from [regarding chrysler building versus ruins beyond] down beside outdoor theater – up through stage – out [toward ruin] against apartments above.

blackbox theater

- [williamsburg bridge beyond through] down in blackbox theater, up despite theater above – round (amidst painting studios) [toward queensboro bridge] except sculpture studios (above art gallery).

outdoor theater

. up upon outdoor theater [east river around] – down beneath [toward 34th street] along within outdoor gallery [beneath manhattanville skyline] – up, along amid event hall round, regarding the dressing rooms [excluding the united nations secretariat] by means of out onto stage -

art gallery

- into art gallery [amidst queens versus manhattanville skylines], up throughout painting studios [despite ruins versus sculpture studios], down between event hall [against ruins round] across outdoor gallery across beyond [toward east river] -

painting studios

- near amidst painting studios – out (over outdoor gallery) via cafe [[against moai in addition to dressing rooms] toward queensboro bridge] (opposite art gallery).

sculpture studios

. within sculpture studio [sky versus ruins around], down past (sculpture studios near, opposite) by means of ruins – amidst art gallery – across, down into outdoor gallery round [toward queensboro bridge], (between dressing rooms regarding cafe nearby) -

printmaking studio

. down out of printmaking studio [in place of sky], over across art gallery below via outdoor gallery beside [toward queensboro bridge] past dressing rooms throughout – onto cafe along [toward ruins] -

photolab

. (within photolab), out from underneath event hall until ruins, round to back of art gallery [amidst studios above [except chrysler building]] against apartments.

event hall

- from amidst event hall to *** -

cafe

. in front of cafe [before ferry depot [toward queensboro bridge]] – down into outdoor gallery [beneath east river] – up between near art gallery plus event hall beyond [except ruins] -

offices

. within office [regarding chrysler building versus ruins] out near box office (amidst dressing rooms), between into art gallery below, around (along apartments) [[toward williamsburg bridge] except sculpture studios] -

computer lab

- amidst computer lab – down into art gallery [despite ruins] – across photolabs below until offices [in place of queensboro bridge]

box office

according to box office, theater above throughout [around through event hall]

apartments

. (within apartments) – painting studios plus sculpture studios around [except east river] -

ok… now the plan should be done! (?) im going to celebrate bullshit thanksgiving…

i agree that the idea of sequence and happenstance or adhoc movement could be viewed as antithetical. i too am wary of this. i believe that we don’t have a very strong organizational framework, and very little discussion about what this center is wont to acheive, so in the absence of such a principles, i am cultivating a network of relationships between the spaces, which one may note, fluctuate from sequence to sequence, sometimes one thing is in one relationship to another and then the whole thing flipped recto verso. i believe that as a base, these narrative threads can serve to provide a woven condition of ‘paths’ that can be tailored to the needs of the estranged pilot through ideas of triangulation, assumption, and form. these ‘primary’ or embedded paths i perceive as loose, one’s that, as the “stranger’s path” posed earlier, are lost within a fabric, yet stand out through their recognizable trajectories. the idea of complete chance i see as anathema to the principles of universal design.

i was assuming we would use the ruins rhetorically, as dead ends or pregnant pauses in the movement system, whatever architectural solution solves “up… despite ruins.” glass tunnels with kidnap’d whale sharks would suffice.

i tried to hint at ruins/relics in my conducting bodies… i think ‘they’ want us to deal w/ those ruins in a very literal sense?

i think it is both, you may have noticed that i included moais in my sections. also, i guess there is the projection that some of these parts of the buildings will fall dormant and ‘ruined’ when they are made into islands or whathaveyou. i think we should have some stance on the renwick ruins, whether it is ‘realistic’ or ‘literal’ or not. i see it as rhetorical dead weight.

i think the character idea is tight. how do you think we could mesh it with my previous exercise? i am doing drawings right now of those textual ‘sections’ to cultivate a network of physical relationships. perhaps this is too architectural, but i think it would help as a backdrop or underlay for such incursions. even marquis had the u.s. map as a set of constraints for its whimsy.

watch threads above for corresponding drawing updates. all drawings will be oriented with the long axis of the island horizontal on the page.

ok, that is all the threads. now i guess i will try to weave them together. comments, questions, contributions? still working on the conducting bodies master drawing as well.

ashley, i was thinking the ‘skins’ that are being done on the conducting bodies would finally occur in the master drawing, but i realize at this point such a venture is not feasible as the drawing exists in real life taped to my workbench, so excelsior to your continued interventions on the 4x6s.