Tales From the Index | USF SACD Master's Project 2021

DOCID: 05082021 CONFIDENTIAL

TERMINAL MASTERS PROJECT TITLE:

SUBTITLE:

FROM INDEX TALES ROM FROM THE INDEX INDEX:

(PROJECTIONS OF TALES FROM THE THE FROM IN RESIDUE ROM TALES FROM THE OF OCCUPATION) ALMOG NAHUM

(PROJECTIONS OF THE RESIDUE OF OCCUPATION)

TALES FROM THE INDEX

A masters research project presented to the Graduate School of Architecture and Community Design at the University of South Florida in partial fulfilment of the requirements to a degree of Masters of Architecture.

MASTERS PROJECT CHAIR . . . . . . . . PROF.

MARK WESTON Professor of Architecture at University Of South Florida

PROJECT COMMITTEE . . . . . . . . . .

PROF. STEVE COOKE Professor of Architecture at University Of South Florida

PROF. THOMAS GOODWILL Professor of Architecture at University Of South Florida Wannemacher Jensen Architects

RYAN SWANSON The Urban Conga Adjunct Professor at University of South Florida

ACKNOWLEDGMENTS Thank you to Orsi, Freida, and Sean for supporting me at home during the last difficult, yet rewarding, years of school. As well as to the professors who were there throughout my 5 years at USF. This would not have been possible without everyone.

INVESTIGATION PROLOGUE . . . . . . . . . . . . . . . . . . .

PRECIDENT RESEARCH . . . . . . . . . . . . . .

EXPOSURE STUDIES . . . . . . . . . . . . . . .

MOVEMENT ANALYSIS . . . . . . . . . . . . . .

A-007 A-011 A-019 A-023

THE BLACK BOX INVISIBLE REALITIES . . . . . . . . . . . . .

LIMINAL DIAGRAMMING . . . . . . . . . . . . .

GATEWAY EXPERIENCE . . . . . . . . . . . . . .

MEMORY OVERLAP SKETCHES . . . . . . . . . . .

MUTATIONS IN SPACE . . . . . . . . . . . . . .

RELIEF PRINTS . . . . . . . . . . . . . . . .

GIF SHIFTING . . . . . . . . . . . . . . . . .

REALIZATION THE METAPHYSICAL . . . . . . . . . . . . . . .

LUCID DREAMING . . . . . . . . . . . . . . . .

NIGHTINGALE FLOOR . . . . . . . . . . . . . .

PROJECTIONS . . . . . . . . . . . . . . . . .

LIST OF FIGURES . . . . . . . . . . . . . . .

BIBLIOGRAPHY . . . . . . . . . . . . . . . . .

B-033 B-037 B-043 B-049 B-050 B-059 B-061

C-079 C-083 C-087 C-091

X-100 X-103

INVESTIGATION

“To really appreciate good architecture, you may even need to commit a murder.”

BERNARD TSCHUMI

EVERY CRIME SCENE LEAVES A TRACE OF PERCEPTABLE EVIDENCE. THROUGH VIOLENCE COMES THE PROOF OF OCCUPATION. OUR BUILT ENVIRONMENT GIVES WAY TO EVERY DAY BRUTALITY, FOR LIVING

BY DEFINITION WEARS ON US AS PEOPLE AND REMOVES THE THIN LAYER OF FRESHNESS THAT SURROUNDS US. ...

AND YOU MAY ASK YOURSELF, „HOW DO I WORK THIS?“ AND YOU MAY ASK YOURSELF, „WHERE IS THAT LARGE AUTOMOBILE?“ AND YOU MAY TELL YOURSELF, „THIS IS NOT MY BEAUTIFUL HOUSE!“ AND YOU MAY TELL YOURSELF, „THIS IS NOT MY BEAUTIFUL WIFE!“

fig. 1: “same as it ever was”

QUESTION: WHICH BAND’S CD WAS STUCK IN YOUR CAR’S RADIO DURING THE TIME OF THE INCEPTION OF THIS PROJECT? ANSWER: THE TALKING HEADS

A-008

Through a study of vignettes, a winding narrative following the processes of understanding impact on space occurs.

TALES FROM THE INDEX refers to the portrait that is illustrated through the defining and redefining instances of reverberations movements have in space.

This index is a measure of the residue that occupation has on architecture and everyday living.

EIZMAN * EYAL WEIZMAN * EYA

fig. 2-6: eyal weizman

In this project, a focus was directed towards a body of work by the Architect Eyal Weizman, outlined in the book “Forensic Architecture: The Threshold of Detectability”. At the root, the methods by which certain crimes and human rights violations are investigated happen through compiled evidence and an understanding of the context.

The methods by which certain crimes and human rights violations are investigated through compiled evidence and an understanding of the context.

In the example that has been exhibited by Weizman, an explicit crime has been committed and impressions are left at the scene. The term Forensic Architecture was coined by Weizman and refers to the production and presentation of architectural evidence (relating to buildings, urban environments) within legal and political processes.

I am interested in using a methodology that reveals imprints left by occupants of a space when the imprints are not visible.

A-012

To begin understanding the processes behind movement, looking back towards the first instances of motion capturing using film was essential.

Chronophotography is defined as “a set of photographs of a moving object, taken for the purpose of recording and exhibiting successive phases of motion” In 1873 a former governor of California and horse enthusiast, hired Eadweard Muybridge to create an instantaneous photograph of one of his horses at full speed.

Physicist Étienne-Jules Marey used the chronophotographic method in order to capture movement. Used the technique of overlapping celluloids atop one another in order to see the full scope of movement in a single frame.

fig. 7: The Horse in Motion

A-014

MARCEL DUCHAMP Artist Marcel Duchamp, whose work is closely associated with Dadaism and Cubism, created a painting called Nude Descending a Staircase, No. 2. In this painting, a figure shows a movement through abstracted repetitions of body parts as the movement shows a descent. The motion is shown through successive superimposed images, similar to stroboscopic motion photography.

This is shown to be influenced by the chronophotography works of ÉtienneJules Marey and Eadweard Muybridge’s Woman Walking Down Stairs from his 1887 picture series, published as The Human Figure in Motion.

fig. 8: Woman Walking Down Stairs

fig. 9: Nude Descending Staircase No.2

(EVIDENCE SERIES)

“[The] series revisited homes where murders had taken place.

On walls that had been cleaned and repainted, the application of Luminol still revealed the proteins of blood spatters.”

(Saner). Photographing over 140 crime scenes, Strassheim also interviews the current tenants, most of whom have no idea that a violent crime had ever been committed in their home.

These violent histories are only to be revealed with the Luminol and up to an hour long film exposure time to capture the hidden blood splatters.

A more abstract method will be used in order to see imprints left behind when no physical or organic evidence is left behind.

A composite of frames depicting an action are laid atop one another and the full scene can be realized.

fig. 10-12: Angela Strassheim

ANGELA STRASSHEIM

A-018

BREAK IN NO.1

BREAK IN NO.2

BREAK IN NO.3

BREAK IN NO.4

fig. 13-16: Break In Series

(BREAK IN SERIES / EXPOSURE GIFS)

Using Marey, Muybridge, Strassheim, and Duchamp as precedents, I was able to show the process of overlapping gifs to create a single image. As each layer is “burnt” on, the movements either become more pronounced or scattered in the image.

Break-In No.2 showcases the force exerted on the home through a multitude of kicks from two attackers.

These crimes show a break into a threshold; a theme that I will be exploring through imprints left behind of actions that are not visible.

fig. 17-20: Gilbreth Chronocyclegraphs

(CHRONOCYCLEGRAPH PRECIDENT) By understanding what exactly had left the impressions on the scene, we are able to follow the actions that have led up to the final result. An early rudimentary form of this is seen through the work of Frank and Lillith Gilbreth through their use of chronocyclegraph photographs and wire models in the early 20th century in order to track the movements of workers for efficiency studies.

By adorning their hands with reflective rings, the worker’s movements are mapped out through a series of photographs where the movements are clearly mapped out with streaks of light resulting from camera flashes. Wire models are then created to showcase the path of movement and judged on whether they are efficient or not.

When the final result is not evident because the action did not leave imprints, motion capturing is essential to understanding how to impact the space in a visible way.

A-022

By using similar methods to the precedents, a formula in which to track the movements of a body through space was devised.

Each frame in a video is isolated and then overlayed atop the next in order to accurately understand movement through space in relation to an existing context. By using a video and creating a rudimentary animation effect, the motion of the figure is tracked. Regardless of the fact that the camera is not stationary, we understand how an environment exists in relation to an external force.

This study was the catalyst for the focus onto the symbiotic relationship between FIGURE and GROUND in the most personal sense. Defining figure as an individual moving through space, and ground as the context the envelops.

fig. 21: Parkour Movement Study GIF

A-024

fig. 22: Parkour Movement Study Model

A-008

First, by stabilizing asecond, by assigning

points

to

the figure in order to accurately track movement

devoid

of

the extraneous environment. ALL THAT IS LEFT IS THE IMPRESSION IN SPACE.

A web is created overtop the points that were extrapolated in the earlier process. This web reflects the complexity of movement throughtout the space and how each moment effects the overall negative in space.

What happens BETWEEN each snapshot is highlighted here.

The connections show a greater sense of interrelation because regardless of the fact that these in-between moments are lost in the film capture, they exist in the web.

fig.23: Parkour Movement Wireframe

A-028

fig.24: Break in No.2 Movement Studies

Another approach was taken in order to track movement.

In this iteration, movement through time is highlighted by arranging the frames in a chronological order and connecting points over top the frames.

A web is the final impression left behind that shows a dynamic movement that is recontextualized through its layout.

THE BLACK BOX

“The most architectural thing about this building is the state of decay in which it is.”

BERNARD TSCHUMI

INPUT OUTPUT

???

fig. 25: The Black Box

A BLACK BOX is a system which can be viewed in terms of input and output. All without understanding or knowledge of the internal workings. Its implementation and contents are considered to be “opaque”, or unknown to the user.

In this case, the BLACK BOX refers to the methodology of dissecting a select situation. By definition, a stimulus is input and a response is output for a BLACK BOX MODEL.

The process in and of itself of inputting a numerous amount of stimuli in order to come to an understanding through the output is the objective. Even if the method seems mysterious or unknown, the quantity of responses allows for a coda to be formed.

B-034

(INVISIBLE REALITIES) Duchamp’s painting, The King and Queen Surrounded by Swift Nudes, was a realized response to Cubism’s pursuit of the invisible realities suggested by the discovery of X-rays in 1895.

The word liminal comes from the Latin word ‘limen’, meaning threshold – any point or place of entering or beginning. A liminal space is the time between the ‘what was’ and the ‘next.’ It is a place of transition, a season of waiting, and not knowing.

The experience of liminal space poses a discontinuity and leads the occupant to question their surroundings, thus leading to heightened awareness of the space as a transformative threshold between distinct spaces.

fig. 26: The King and Queen Surrounded by Swift Nudes

B-036

fig. 27-28: Breaking Locks Series

(LIMINAL DIAGRAMMING) A way to begin to understand movement through space is by exploring possibilities through diagramming. In these diagrams I am using the idea of a liminal space in order to capture fluidity or rigidity in the moment.

1

2

In Breaking Locks No.1, my intention was to show context in opposition to the unbending diagrammed movement from my Break-In series.

In Breaking Locks No.2, The intention was to ground the movement in a context that is more rigid but lenient to the form.

B-038

Deviation from th e movement focuse d diagrams, these axonometric drawings are us ed in order to clarify what I called “movement through rigidity ”. The inflexible nature of the lock and the weaving of the shackle cr eate a new realit y and understandin g of the lock.

LIMINAL MOTIFS By

using

the

idea d

define

of by

al

“limin

ng,

layeri

and g, n i r r u bl s a on, i t u l o used a s diss i ck the lo , this y t i u icate n u ambig m m o to c ded order n i ng ad f i i e b mot uously contin y b idea oven. interw d n a to

”, spaces

fig. 29: Lock No.1

B-040

fig. 30: Lock No.2

fig. 31: Lock No.3

B-042

ed to rch l a e s e r IA , the he C by t ingly t d s e e r r CIA Inte explo The logy nroe. u thodo M e m a earch obert c res

by R i h 3 c 8 y 9 ps e in 1 d th ed in clude erest n t i n i This was tion me. plica e ti e ap h f t i l at when eal h is nd r c a i h y w ng, theor with viewi vents e mote e l r rea of mind. views their e n o f e o som some wer sed o e po p h t self only t it cumen o d ies.

The theor g n i t es inter

GATEWAY EXPERIENCE

(ROBERT MUNROE, CIA) Gateway is all about experiencing the nonphysical aspects of reality. It mainly focus on OBE’s (out of body experiences), remote viewing, and over all evolution of consciousness. It’s through these techniques that we learn how powerful our consciousness truly is. ‘Gateway’, is the gateway to the hidden parts of reality that few know exist.

“Solid matter, in the strict construction of the term, simply does not exist.”

“Contrary to what everyone knows is so, it may not be the brain that produces consciousness — but rather, consciousness that creates the appearance of the brain...”

“The human mind is also a hologram which attunes itself to the universal hologram.”

“To enter these intervening dimensions, human consciousness must focus with such intense coherence that the frequency of the energy pattern which comprises that consciousness (i.e the brainwave output) can accelerate to the point where the resulting frequency pattern, if displayed on a oscilloscope, would look virtually like a straight line”

fig. 32-33: Gateway Diagrams

B-044

In these collages, a combination of the liminal lock motif and the superimposed threshold are explored. By zooming in on one moment of time, the exploration is focused on the idea of an “INVISIBLE IMPRINT” How is the mutation of time, and more specifically, SPACE communicated in our reality? The liminal space of a moment frozen in time and then MAGNIFIED brings attention to this concept.

BIRTH-DEATH specifies the snapshot of our lives. Notably, the only unit of measurement for time that exits for every living organism on Earth. Does infinite death mean infinite life? If we were knowingly frozen in one moment in time would it be torturous or a relief?

fig. 34: Liminal Threshold fig. 35: Moment in Time

B-046

fig. 36: Lapse

B-048

fig. 37-39: Memory Sketches

Through the process of overlapping drawings through remembered images, space is reimagined completely. The lines between the existing and imaginary are blurred and new dreamscapes begin to emerge.

Context becomes the space and a new memory is imprinted. Memory can be nonlinear. remembered exists from what is subconsciously drawn.

B-050

S) P NOTE A L R the E V O s Y e R r O o M l E (M exp gy o l o d he o meth was t t s a i h h w T n betwee e p i h ns me th o o i c t e a b l re as hat h w of d n l a inning g e b limina e is th G t I REAMIN y.

D t i D l I a C e r LU n of a o e i t a c i of th l p p s a d n the e bou ch th i h w in . state, rolled t n o c become dream

GM-C fig. 40: Gordon Matta-Clark

fig. 41: Memory Sketch

Gordon Matta-Clark’s ideas of completely breaking down a home and reframing its narrative/POV allowed me to apply the idea of liminality to a built space.

“From March to June 1974, Matta-Clark used a chain saw to bisect a New Jersey house scheduled for demolition.

He chiseled at its foundations and transformed it into a temporary sculptural environment. The rear section of the house was set on a lowered foundation, creating a wedge of space between the two halves that exposed a series of sliced rooms and introduced light and air into cramped spaces. This splitting implied both a rupturing of the fabric of domestic space and a liberation of the individual from suburban isolation.”

-Whitney Museum of American Art

fig. 42: Mutations in Space

fig. 43: Split Lock

By using Matta-Clark’s methodology of reunderstanding the house, I created the axonometric drawings that used the ideas and motifs I had already been using.

fig. 44: Compulsion House

B-056

fig. 45: Gordon Matta-Clark

(AN ARCHITECTURAL FAMILY TREE) Moments of these architectural mutations in Matta-Clark’s work brought my focus onto individualistic moments in which the context is deformed in a similar way in order to show “hidden/ invisible mutations”.

I am interested in using a methodology that reveals imprints left by occupants of a space when the imprints are not visible. The questions that I hope to answer include: How can you visualize a space that has been disturbed without the signs of significant weathering? What can spaces tell us by the ways they have been altered through movement, even if is invisible to the human eye? And how can this be reconstructed accurately?

B-058

fig. 46: Relief Prints

(UNDERSTANDING IMPRESSIONS) I created three instances where a figure’s touch or action impacts the surrounding context through the usage of relief printing as a way to define imprints in space.

By only reapplying ink to the context, the figures fade in every pass through the printing press.

What is left is only the impacted context.

fig. 47: The Exorcist GIF

fig. 48: The Shining GIF

fig. 49: Mean Streets GIF

By

taking

editing

scenes

them

in

from

movies

order

to

and

create

the effect of context deforming due to

actions,

the

idea

of

invisible

imprints is communicated.

Built space and the environments around the figures in the scenes warps in order to accommodate their movements and gives way to their touch.

B-062

fig. 50: Altered States GIF

fig. 51: Suspiria GIF

fig. 52: Suspiria GIF

fig. 53: Suspiria Rendering

Through the usage of movement tracking and scene analysis, snapshots devoid of the figure can be created in order to show the narrative of what had occurred in the space.

B-068

fig. 54: Pride & Prejudice GIF

fig. 55: Pride & Prejudice Rendering

Going back to the principle of Forensic Architecture: rather than creating a scene based on impacts violently left behind, a scene is created where the occupation itself is the impact within the space.

B-070

fig. 56: The Shining GIF

fig. 57: The Shining Rendering

The space gives way to the violence in an unnatural way. The walls don’t behave as walls, the doors don’t behave as doors. Our actions bend the will of the built environment when put under a microscope. New ways to occupy our context become more apparent.

B-072

fig. 58: Parkour GIF

B-074

fig. 59: Parkour Rendering

B-076

R E A L I Z AT I O N

fig. 60: Staircase Inwards

“If you want to follow architecture’s first rule, break it.”

BERNARD TSCHUMI

How do you translate these ideas of liminal spaces and impact onto spaces in real life? The REALIZATION comes as overlaying a dimension of what was discovered in the toolkit established and creating a language for communicating these ideas.

Projection artist Krzysztof Wodiczko uses an overlay of images onto space in order to create a dialogue about social problems. Projections revealed the true nature or a narrative; Wodiczko’s art uses public space and the existing architecture as the context for relaying a message.

“Overlaying the image of a boat with the words ‘Good Hope’ around it with a swastika made a direct comment on the nature of the apartheid regime. The work is effectively a photomontage, albeit one made in situ in front of the camera, conforming to the notion of combining two images to reveal a third meaning.”

The application of the methodology established was decided to be projections. By exploring the newfound realities through GIFS and impact studies, the insuing projection portion of the project became fully realized towards the end.

fig.61-62: Krzysztof Wodiczko

C-080

METAPHYSICAL PAINTING

fig. 63-67: Giorgio Di Chirico

DI CHIRICO Metaphysical painting was a style of painting developed by the Italian artists Giorgio di Chirico and Carlo Carra. The movement began in 1910 with de Chirico, whose dreamlike works with sharp contrasts of light and shadow often had a vaguely threatening, mysterious quality, “painting that which cannot be seen”.

C-082

fig. 68: Deep Red GIF

Metaphysical Paintings featured a general mood of isolation and haunting mystery. Through the study of metaphysical art and ideals, the theme of memory and residue continued to resonate. In the movie “Deep Red” directed by Dario Argento in 1975, he drew from the ideas of De Chirico and Duchamp through liminal subtext.

The overlapping memories return in the dreamscape of occupation. This drawing is an excerpt of Argento’s film, with memory filling the voids and generating new dimensions of reality.

C-084

fig. 69: Lucid Dream House

A singular house is then used as a model of the line between liminal and existing. The existing figures go about everyday tasks. The repetition leads to the weathering of the home. The section lifted exhibits the bedroom and the hearth of the home.

C-086

fig. 70: Structure of Uguisu-bari

fig. 71: Nightingale Impact GIF

The impact magnified and graphically shown in this graphic, with the figure still taking part in the action. This is an interpretation of the Nightingale Floor.

While dry boards naturally creak under pressure, nightingale floors have extra metal clamps located between the beams that support the floorboards of the corridor.

When someone walks over the boards, the clamp moves up and down causing the spike to rub against the clamp, producing a shrilling noise.

C-088

fig. 72: (un)realities GIF

GATEWAY The dichotomy between existing structure and the imperceptible plane where the effects of touch are evident is fully outlined in this graphic.

Flipping between the physical and the imperceptible.

C-090

PROJECTIONS (AS CAPTURED ON FILM)

fig. 73-75: Projection Polaroids

The application of the methodology was through projections. Whatever became evident through touch or movement was overlaid onto the context with a projector.

C-092

fig. 76: Doorframe Projection

fig. 77: Windowpane Projection

With the Black Box toolkit and the methods for understanding movement’s impact on our surroundings, this project is the catalyst for continued studies. Just as the work itself snowballed from one study to the next, the ability to continue and apply these tools to other events or spaces is possible. From digital analysis to real life projections.

This particular chain of events has been studied, and not even to their full extents. The future holds many avenues for continuation and adjustments. The realization of this project came with the knowledge that there is no concrete ending. Only more strings to follow and things to explore.

All that there is left to say is: there will be more.

TO BE

D...

NUE CONTI

C-098

X-099

LIST OF FIGURES FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE

1: 2: 3: 4: 5: 6: 7: 8: 9: 10: 11: 12: 13: 14: 15: 16: 17: 18: 19: 20: 21: 22: 23: 24: 25: 26: 27: 28: 29: 30: 31: 32: 33: 34: 35: 36: 37: 38: 39: 40:

“same as it ever was” Eyal Weizman Forensic Architecture 1 Eyal Weizman Forensic Architecture 2 Eyal Weizman Forensic Architecture 3 Eyal Weizman Forensic Architecture 4 Eyal Weizman Forensic Architecture 5 Eadweard Muybridge “The Horse in Motion” Eadweard Muybridge “Woman Walking Down Stairs” Marcel Duchamp “Nude Descending Staircase No.2” Angela Strassheim “Evidence No.11” Angela Strassheim “Evidence No.13” Angela Strassheim “Evidence No.2” Break-in No.1 Break-in No.2 Break-in No.3 Break-in No.4 Gilbreth Chronocyclegraph 1 Gilbreth Chronocyclegraph 2 Gilbreth Chronocyclegraph 3 Gilbreth Chronocyclegraph 4 Parkour Movement Study GIF Parkour Movement Study Model Parkour Movement Study Wireframe Break-in No.2 Movement Studies The Black Box Marcel Duchamp “The King and Queen Surrounded” Breaking Locks No.1 Breaking Locks No.2 Lock No.1 Lock No.2 Lock No.3 Gateway “Universal Holigram” Gateway “The Consciousness Energy Grid” Liminal Thresholds Moments in Time Lapse Memory Sketch 1 Memory Sketch 2 Memory Sketch 3 Gordon Matta-Clark “Mutations in Space”

A-008 A-011 A-011 A-011 A-011 A-011 A-013 A-015 A-016 A-017 A-018 A-018 A-019 A-019 A-019 A-019 A-021 A-021 A-021 A-021 A-024 A-026 A-028 A-029 B-033 B-036 B-037 B-038 B-040 B-041 B-042 B-044 B-044 B-045 B-045 B-047 B-049 B-050 B-050 B-051

FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE

X-101

41: 42: 43: 44: 45: 46: 47: 48: 49: 50: 51: 52: 53: 54: 55: 56: 57: 58: 59: 60: 61: 62: 63: 64: 65: 66: 67: 68: 69: 70: 71: 72: 73: 74: 75: 76: 77:

Memory Sketch 4 Gordon Matta-Clark “Mutations in Space” 2 Split Lock Compulsion House Gordon Matta-Clark Various Works Relief Prints The Exorcist GIF The Shining GIF 1 Mean Streets GIF Altered States GIF Suspiria GIF 1 Suspiria GIF 2 Suspiria Rendering Pride & Prejudice GIF Pride & Prejudice Rendering The Shining GIF 2 The Shining Rendering Parkour GIF Parkour Rendering Staircase Inwards Krzysztof Wodiczko “South Africa House” Krzysztof Wodiczko “Guests” Giorgio De Chirico 1 Giorgio De Chirico 2 Giorgio De Chirico 3 Giorgio De Chirico 4 Giorgio De Chirico 5 Deep Red GIF Lucid Dream House Structure of Usuigu-bari Nightingale Floor Impact GIF (un)realities GIF Windowpane Polaroid Doorframe Polaroid Cup Polaroid Doorframe Projection Windowpane Projection

B-052 B-053 B-055 B-056 B-057 B-060 B-061 B-061 B-061 B-063 B-065 B-067 B-068 B-069 B-070 B-071 B-072 B-073 B-075 B-077 C-080 C-080 C-081 C-081 C-081 C-081 C-082 C-083 C-085 C-087 C-087 C-089 C-091 C-092 C-092 C-093 C-095

BIBLIOGRAPHY “1915 – Wire Models of Factory Worker Movements.” List of Physical Visualizations, dataphys.org/list/wire-models-of-factory-worker-movements/.

Addley, Esther. “Esther Addley Talks to Israeli Architect Eyal Weizman.” The Guardian,

Guardian News and Media, 25 July 2002, www.theguardian.com/artandde sign/2002/jul/25/artsfeatures.israelandthepalestinians.

Bolton, Doug. “Amnesty International Uses Interactive Map to Show Every Israeli

Strike on Gaza.” The Independent, Independent Digital News and Media, 9 July

2015, www.independent.co.uk/news/world/middle-east/amnesty-internation al-uses-the-gaza-platform-map-to-visualise-every-israeli-strike-on-ga za-10376313.html.

Brook, Pete. “Photographer Exposes Crime Scenes, With a Dash of Chemistry.” Wired,

Conde Nast, 27 June 2018, www.wired.com/2010/12/strassheim-crime-scenes/.

Campion, Thobey. “How to Escape the Confines of Time and Space According to the

CIA.” VICE, www.vice.com/en/article/7k9qag/how-to-escape-the-confines-of- time-and-space-according-to-the-cia.

Curry, Andrew. Architectmagazine.com, 24 Apr. 2017, www.architectmagazine.com/de sign/culture/the-rise-of-forensic-architecture_o.

Goyanes, Rob. “The Architects Reconstructing Crime Scenes No One Else Can.” Artsy,

9 Nov. 2017, www.artsy.net/article/artsy-editorial-architects-scientists-recon structing-crime-scenes-one.

Hodges, Michael. “Forensic Architecture Is Unravelling Conflict from Gaza to Guatema

la.” WIRED, WIRED UK, 16 Nov. 2018, www.wired.co.uk/article/gaza-data-foren sics.

Kimmelman, Michael. “Forensics Helps Widen Architecture’s Mission.” The New York

Times, The New York Times, 6 Apr. 2018, www.nytimes.com/2018/04/06/arts/de

sign/forensic-architecture-human-rights html.

“Krzysztof Wodiczko.” Culture.pl, culture.pl/en/artist/krzysztof-wodiczko.

Lienhard, John H. No. 826: Marey and Muybridge, www.uh.edu/engines/epi826.htm.

Matta-Clark, Gordon. “Gordon Matta-Clark: Splitting.” Gordon Matta-Clark | Splitting |

Whitney Museum of American Art, whitney.org/collection/works/12740.

“Metaphysical Painting Movement Overview.” The Art Story, www.theartstory.org/move ment/metaphysical-painting/.

X-103

Mitter, Siddhartha. “When Art Begins at the Scene of a Crime.” The New York Times,

The New York Times, 16 Jan. 2020, www.nytimes.com/2020/01/16/arts/tere sa-margolles-james-cohan-gallery.html.

Mitter, Siddhartha. “When Art Begins at the Scene of a Crime.” The New York Times,

The New York Times, 16 Jan. 2020, www.nytimes.com/2020/01/16/arts/tere sa-margolles-james-cohan-gallery.html.

Moore, Rowan. “Forensic Architecture: the Detail behind the Devilry.” The Guardian,

Guardian News and Media, 25 Feb. 2018, www.theguardian.com/artandde sign/2018/feb/25/forensic-architects-eyal-weizman.

“Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained

Death.” Smithsonian American Art Museum, americanart.si.edu/exhibitions/nut shells.

Saner, Emine. “True Crime: the Women Making Art out of Murder.” The Guardian, Guard

ian News and Media, 24 Feb. 2015, www.theguardian.com/artanddesign/2015/ feb/24/forensics-the-anatomy-of-crime-wellcome-collection-female-art ists#img-1.

“The King and Queen Surrounded by Swift Nudes.” Philadelphia Museum of Art, www. philamuseum.org/collection/object/51461.

Valen, Mark. ART FOR A CHANGE - Krzysztof Wodiczko., www.art-for-a-change.com/ Krzysztof/krzy.htm.

Weizman, Eyal. Forensic Architecture: Violence at the Threshold of Detectability. Zone

Books, 2019.

Weizman, Eyal. Hollow Land. Verso Books, 2017.

X-104

S.A.C.D.