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ORO Editions
The old scale of Manhattan’s skyscrapers – ‘those small human scratchings on the surface of the Earth’ –recalibrated against a new experimental scale of deep space and time. The city perceived as a more recent layer in the island’s complex stratigraphy also raises a cognitive challenge to its perceived limits and to our own limitations as humans.
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The island tested as a geological raft adrift in an underground sea of semiliquid rock.
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A park carved out in the middle of an island.
The investigation uncovers processes of park creation: plan, competition, design, construction.
A landscape carpeted over the city. A rug of intricate vegetal and mineral ornament.
A thin layer of cultivated artifice to give the appearance of virgin land.
The investigation proceeds. History, geography, geology, hydrology. Internal logics soon emerge: topography, drainage, dryness.
The rug is not a whole fabric. It is not thin, either. Several insular landscape pieces coalesce around old and recent organizational principles. They are cut to fit the rectangular mold. Truncated from their geological milieu to fit the city. The park seen from above.
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A perfectly regular rectangle.
What if Central Park were able to escape the cartesian logic of the grid in which it was inscribed? What if it could expand following the landscape’s topographical and hydrological
The investigation turns into creative generation, mostly in plan.
The landscape is laminated in a series of sequential drawings.
The sequence animates the design.
Each new layer unleashes the pieces from their rectangular strangulation.
Each piece suddenly grabs the city beyond the park limits.
ORO Editions
MT3 starts with five variations on an archetypal sequence of spaces (rooms along a corridor), then progressively modifies them through the introduction (transgression of movement patterns. On a second stage, it then performs what might be called a ‘zooming’ operation, as it suddenly focuses on one detail of the final operation and enlarges it to a new scale (the scale of communal courtyards as opposed to the earlier scale of single cells). In turn, these frames (which here coincide with the yards and their institutional use: prison, hotel, asylum, etc.) are transformed (transgressed) by a further movement or event (a falling body) and lead to the final configuration of a continuous and vertical sequence of spaces. MT3 thus sees event and movement coincide in formal terms, even if the event’s cultural implications inevitably differ from the significance of the movement pattern (which in this case it taken to be neutral).
ORO Editions
Archaeologics of Domesticity (AD) starts with six regular perimeters prepared for archaeological digs on three archetypal spaces (landscape rooms along the park’s paths), then progressively modifies them through the introduction (transgression) of movement patterns. On a second stage, it then performs what might be called a ‘zooming’ operation, as it suddenly focuses on one detail of the final operation on one of the perimeters and enlarges it to a new scale (the scale of a pit as opposed to the earlier scale of single cells). In turn, these extrusions (which here coincide with the yards and their archaeological use: sites of excavation) are transformed (transgressed) by a further movement or event (fallen artifacts of a former village) and lead to the final configuration of a continuous and horizontal sequence of spaces. AD thus sees event and movement partially coincide in formal terms, even if the event’s cultural implications inevitably differ from the significance of the movement pattern (which in this case is taken to be neutral).
ORO Editions
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