RELATIVE PERMANENCE
Sept . 06 - Oct 12 [ Fall 2023 ]
The overlap of time and space will be explored as a means of exploring environment; not as a concept that is separate from ourselves but as a verb or situation: an ongoing, unfolding action that does not differentiate between here and there and near and far as two separate and abstracted spaces but as a concurrent space/time continuum that connects meaning to our sociocultural, historical, geographical and/or ecological contexts.
exerpt from brief
Continuance without change is impossible in architecture. Like places, individual buildings are partly defined by the “no longer” and “not yet”.
exerpt from Relative Permanence . David Leatherbarrow
to remain to endure to continue, stay to the end
Each hand of a watch exists in relation to their own relative permanence. The drawings were done consecutively, while marking the hands’ positions at the respective times when they were drawn.
Within the span of one minute, the hour hand may appear as if it has been in one place but the second and minute hands have already moved past their initial positions many times, one more drastically than the other.
Encased in an acrylic container, the model was submerged in water to observe the rates at which it changed, held on and endured, leading either to its death or rebirth.
Relative permanence against impermanence and its inevitability.
Oct . 16 - Dec . 11 [ Fall 2023 ]
The exploration into (site) will begin with a 5-day focused field study of Clearwater, Manitoba. The site explorations and field study will involve critical research, analysis, and postulation of the (near) and the (far) from both a human and environmental scale in attempt to constitute an intimate biographically understanding of the incredible complex relationship between the local community and native ecology.
Ultimately, the objective of this (site) exploration is to gain a deep respect for all “humankind”, rejecting the privileging of human existence over the existence of nonhuman “objects”.
exerpt from brief
It was a calm morning when the sun had yet to rise.
By myself, I wandered off a beaten path sheltered by canopies that had already unclothed themselves for the arrival of Fall.
The fresh haze of the countryside filled my nostrils, I felt my hear t cleansed by the dawn choruses sung by the forest’s inhabitants.
My steps felt light, my mind emptied.
I was never one to attend a day before the sun does. The sun was my morning cue; now in its absence, I felt content and free.
With each stride I took, I sensed the land’s life seeping through my boots, or perhaps it was my body that craved to return somewhere.
Appeared before me was a steep descend leading to a dried out creek, centered in my perspective by the naked trees. Its shallow body of water, green pastures and chilly breeze called out to me.
I heard about this creek from the townspeople; around every April, water would rush down from the States, slithering along and colliding with the flood lands before disappearing once more.
Its hunger is insatiable, it moves fast and creates swirls that erode the banks at each major curve.
I walked the creek on October, yet that ravenous water I imagined was still there, just as gentle streams and puddles on beds of shell stone, allowing me to catch it in its moment of fragility and respite.
10 . 18 . 23
Water as a void, an inner world yearning for the outside, an extension of those around her.
Watercolor, soil collected from site were used to form the floodland, before Water travelled through and did a drawing of her own.
10 . 29 . 23
Land as a cosmos of organic and complex properties, one that can be reached, touched and enveloped.
WATER . WATERCOLOR . PLASTER
[ 1 | 8 ” = 1 ]
Molded by hands, based on the pattern as informed by Plan
Divided into 5 sections using a pull saw [ recognized as a violent act ]
Submerged with water mixed with watercolor
5 mylars to be dipped into each gap stacked to create section
11 . 16 . 23 - 11 . 20 . 23
His love for her is blinding and old.
In her wake, he is granted succor.
In her wake, he has to endure.
Her presence is brief and bold.
With her comes ravenous spirals, used to hypnotize many others of his kind.
The waves of her body molds his flesh, pulls away his hair and skin.
Until nothing is left but his eternal desire for her once more.
11 . 08 . 23
Water and Soil
WATER = FLOUR
SOIL = SALT + FLOUR
[ 1 | 8 ” = 1 ’ ] [ 1 : 1 : 1 : 1 : 1 . . . ]
An acute unity, where “scale” becomes obsolete.
The form to the right is to be a library, a datum of collapsing time and space.
A FRAGILE DEFENDER
Jan . 08 - April . 10 [ Winter 2023 ]
A transformation of those theoretical concepts, site analysis and programmatic prompts into a comprehensive architectural proposal for the town of Clearwater, Manitoba. The work will continue to oscillate within and between explorations of sites, situation and situatedness.
The former (site) can be defined in physical and material terms, and the later (situation) can be regarded as the location of something in space and a set of circumstances bounded in time – the conditions of a particular instant, a moment, or an event. The associated verb to situate describes the action of positioning something in a particular place, while the adjective situated, defines something’s site or situation.
exerpt from brief
WATER . TEA LEAVES . POLYESTER
[ 3 | 32 ” = 1 ’ ]
Born of clay, a part of his body holds on amidst the passage of time. Like a tortoise moving around in the water.
These books are tokens of time and space.
For each that is taken out, the shelves raise, the clay sphere descends. Its time shortened, its internals contract.
For each that is returned, offered, the shelves retract, its shell lifted from the water. Its time expanded, an inner world swells.
1 . Counterweights . shelves and books
2
The shelves would fall, for the shell would eventually dissolve, be gone. Surrendering its knowledge to the elements, leaving naught but the taller sections behind.
