phantom orchestrations of a telescopic furniture: ~nicodian conversations with the Venus de Milo 1
Abstract ~ The project develops on the configuration of presence and how it is defined between the structured and the unstructured, producing a boundary as a line of growth for both of understanding composition and as an exploration of theoretical and pragmatic scenarios of space. The sculpture of the Venus de Milo is used as the facsimile of a simulacrum to create an extended space of light, which discusses the moment in a system of reworking the process of induction to reveal spaces outside of the objects as a response to immediate changes within its structure. The Venus de Milo’s multiple time based ‘operations’ by various ‘surgeons’ which has resulted in the armless replica of today has moved from object of pleasure to object of historical significance to object of art to object of speculation. The severed limbs create a narrative for the healing process of the phantom limb and elaborate an understanding of a structural telescoping as a new system that allows a growth of a furniture between structural members as an apparatus to reconnect the body to a new phenomenological domain. This makes the statues composition an ideal starting point for understanding of structural ‘healing’ to exist between architectural systems of light through spectronomy and mathematical geometric systems by using Jean Nicods ideas of induction to discuss the compositional qualities of the object and how it is constructed as a time and location device within in a system. Through my four bitumen coated models and their composition as a ceremonial union in relation to the Venus de Milo’s struggle for composition as a battle between her ‘surgeons’ or bachelors, the time based material nature of the system has allowed me to elaborate and explore the creation of new structural terminology which can be later used as a platform for a glass scaffolding for protocellular growth and a development as a method for articulating the removal of the objects. At the same time this method can be used to address how objects and environments transmit or lose information, similar to how buildings and their spaces or landscapes urban context are subject to constant change.
the severing ~ the removal ~ the scar ~
Drawing: With natural disasters on an almost daily basis, with our being forced to change and adapt to a continuous re-structuring and re-configuration of our boundaries have completely alienated us from our proper habitat and what we should be changing rather than growing with it. Architecturally there becomes an exploration between space, boundary, geometry and the body, with a view to create a cartographic reference to how we should conceive, dominate or inhabit space. The space of conflict becomes the space of creation and cultivation. The question is whether this space should be developed as an in built system or as a removed system. Initial ideas grew from the interrogation of seismographic patterns and earth shifts. I used Surtsey Island as a starting idea of an uninhabited mass that was artificially created through a volcanic eruption. The interesting ideas behind this island is how after numerous attempts at boycotting the environment with potato and tomato seeds, the ecological importance of the island has become isolated from the scientists and people who inhabit it. Even the attempt at building a lighthouse on the island stopped and the foundations were removed, and all the scientists to the island are constantly checked for seeds before they inhabit their little makeshift hut on the island. There becomes this removed intermediate space that is not allowed to develop artificially which is interesting in realising how it could have if it were allowed to be inhabited properly. The shifts in boundaries of rifts and plates in the earths core begin technologically to implicate a way of addressing shift and re-configuration through shift and change in volume and territory that are exerted on the plates themselves. I had designed a movement system based on the vulcanisation process of rubber. What happens is as the volcano erupts, the heat generated would loosen the mechanical arms of the fluctuating leg system and allow the structure to pull itself out of the ground, henceforth walking away from the volcano and collecting remains from the site in terms of geology in a similar way to wheat thresher mechanism. When the structure finally moves out of the area radius of the heat created by the volcano, the vulcanisation process is complete and the structure solidifies and stops the micro-pneumatic system found inside the mechanical arms.
project development 4
traps in the landscape ~ An exploration of trapping, re-configuring, contouring, regenerating as part of a landscape or part of a larger system that could be located along earth fault lines. Based on Philip Gilbert Hamertonâ€™s ideas of landscape
model and materiality ~ Using raw materials such as concrete, plaster and steel to generate systems of merging and joining between cracks, changes in material and dynamic shifts in densities of materials and material properties, using latex as the binder and the properties of light as the entropic projector of space in order to interpret the structure of a column
column design 1 10
column design 2 11
Critical essay and idea development ~
determining the impact of a cartographical collision of boundary and space and exploring the politics of presence ~ 13
!"#"$%&'&'()#*")&%+,-#)./),)-,$#.($,+*&-,0)-.00&1&.')./)2.3'4,$5),'4)1+,-"),'4) !"#$%&$'()*%++(,*(#-*./"0%1$*2(134/"'#-5** "6+0.$&'()#*")+.0&#&-1)./)+$"1"'-"7) !"#"$%&'&'()#*")&%+,-#)./),)-,$#.($,+*&-,0)-.00&1&.')./)2.3'4,$5),'4)1+,-"),'4) * "6+0.$&'()#*")+.0&#&-1)./)+$"1"'-"7) The border between two lands is more than a line; it reinforces the hopes and *fears of the nations that share it 1– Jeff Howe The border between two lands is more than a line; it reinforces the hopes and fears ofTrue the nations shareboth it 1– physically Jeff Howe in the real world and digitally in in everythat scenario
Structurally our bodies shift their cartography constantly and recalibrate in a way that has been already scripted from our birth in the same way as every machine has a sort of code built into it5, whether it be from creating new relationships and geometries with external objects or with other parts of our
the virtual, the strength of the structural decisiveness of a border creates a True in every scenario both physically in the real world and digitally in presence that represents a temporary state, a state that fluctuates between the virtual, the strength of the structural decisiveness of a border creates a the past and the present states of space whether it be political, cultural or presence that represents a temporary state, a state that fluctuates between virtual, acting as “a visible past, a visible continuum, a visible myth of origin to the past and the present states of space whether it be political, cultural or 2 reassure us to our ends, since ultimately we have never believed in them” . virtual, acting as “a visible past, a visible continuum, a visible myth of origin to Our world has formed into a petri dish for social and political collisions that2 reassure us to our ends, since ultimately we have never believed in them” . constantly fragment and mutate our inhabiting space. Natural disasters on a Our world has formed into a petri dish for social and political collisions that daily basis force us to change and adapt to a continuous re-structuring and constantly fragment and mutate our inhabiting space. Natural disasters on a reconfiguration of our borders and boundaries. The radical reconfiguration of daily basis force us to change and adapt to a continuous re-structuring and all of these factors in turn becomes the source of our alienation from the true reconfiguration of our borders and boundaries. The radical reconfiguration of reality of the space that we inhabit. Our “era of simultaneity, of juxtaposition, all of these factors in turn becomes the source of our alienation from the true of proximity and distance, of coexistence and dispersion”3 has descended into reality of the space that we inhabit. Our “era of simultaneity, of juxtaposition, a predicted overload of cluttered communicated media spaces which due to of proximity and distance, of coexistence and dispersion”3 has descended into the internet has resulted in our collective system of memory resembling a a predicted overload of cluttered communicated media spaces which due to server system into which non-degradable artefacts are indiscriminately the internet has resulted in our collective system of memory resembling a thrown4. However, as the struggle for presence has never been more server system into which non-degradable artefacts are indiscriminately dominant and more valid as it is today both online and off, a crisis of the self, thrown4. However, as the struggle for presence has never been more a distortion of the body and a disfiguration of space have become pivotal dominant and more valid as it is today both online and off, a crisis of the self, territories in changing the meaning of the presence and boundary of the 21st a distortion of the body and a disfiguration of space have become pivotal century. territories in changing the meaning of the presence and boundary of the 21st
body itself. Our constant motion, turbulence and nomadic attitude to space and to what binds it is conflicting with the constant stasis that exists in the built world. Constant obsession and desire of perfection and self-projection has gradually become the business model for every new social environment, the very environments which should be about building connections rather than corrupting them and in turn suffocating our development. The presence of our own reflection has resulted in dominating our real space. Lacan in Ecrits writes that while trying to analyse growth of the body and psyche, children start to react to their mirror image at the age of six months and by the time they reach the tenth, children actually begin locating a part of themselves in their mirror, imagining that their body is fragmented as they have an urge to unify ego and space, in turn allowing them to overlook the immediate experience as just pure representation6. It disjoins the idea of the whole self and the reality of the structure of the body and almost teaches us to perceive the real as being produced from an array of fragmented miniaturised units, from matrices, memory banks and command models7. Virginia Wolf’s novel ‘To the Lighthouse’ is a good example of how a constant struggle to reach stability in the presence of fragments and senses as distributed objects8, a key objective needed to be experienced before reaching the territory of desire. The insecurities of the characters and the
turbulence in the sequences create an uncomfortable space between the
Howe Jeff - The New Border Wars, BORDER SPACE: Lines in the Sand !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! http://www.wired.com/wired/archive/11.06/border_wars.html 2 Baudrillard Jean, - Simulations ,translated by Paul Foss, Paul Patton and Philip Beitchman 1 Howe Jeff1983 - The Border Wars, BORDER SPACE: Lines in the Sand Published by New Semiotext[e], Columbia University, New York, USA, pg 19 3 http://www.wired.com/wired/archive/11.06/border_wars.html Apprich ClemensUrban heterotopia: zoning digital space 2 Baudrillard Jean, - Simulations ,translated by Paul Foss, Paul Patton and Philip Beitchman http://www.iwm.at/index.php?option=com_content&task=view&id=116&Itemid=125#_edn22 4 Published Semiotext[e], University, New ,York, USA, pg 19 Tazi Nadia, Koolhaas1983 Remby , Havard project Columbia on the city, Boeri Stefano Kwinter Stanford, 3 Apprich Clemensheterotopia: zoning digital space Obrist Hans Ulrich, -Urban Mutations , Published by ACTAR , 2000 pg 503 http://www.iwm.at/index.php?option=com_content&task=view&id=116&Itemid=125#_edn22 4 Koolhaas Rem , Havard project on the city, Boeri Stefano , Kwinter Stanford, Tazi Nadia, Obrist Hans Ulrich, - Mutations , Published by ACTAR , 2000 pg 503
Deleuze Gilles ,Guattari Félix; A thousand plateaus: capitalism and schizophrenia/ translation and foreword by Brian Massumi. London : Athlone Press, 1988. pg 38 6 Lacan Jacques, Ecrits The first complete edition in English / Jacques Lacan ; translated by Bruce Fink in collaboration with Héloïse Fink and Russell Grigg. New York ; London : W.W. Norton & Co., c2006. 7 Baudrillard Jean, - Simulations ,translated by Paul Foss, Paul Patton and Philip Beitchman Published 1983 by Semiotext[e], Columbia University, New York, USA, pg3 8 YRG Araujo - Immersion as “Social Machine”- analysing the coupling Human-Machine in the industry of entertainment 2003, http://scholar.google.co.uk/scholar?q=related:In0AhbtD5DwJ:scholar.google.com/&hl=en&as _sdt=0,5
! ! 14
body and the goal of reaching a mental togetherness by using art to address
structural crossovers but highlight the state and rate of change that the body
the characters journey to desire as “desiring production understood not as an
has succumbed to in terms of its boundary. It is the open source style of his
expression or as a goal, but as a process of production, which causes things
approach to the human body which is intriguing to be seen as a mere plug in
to move and flow.”9
apparatus which gives a basis of configuration of the outside structure which
The relevance of the body and its collective representation however
is valuable as a metaphor in terms of creating associations and delineating
today is questioned in the case of its validity as a structural boundary and its
boundaries of where structure and space might begin and end, as well as
presence in space as the mirror in Foucault’s terms seems to have become
addressing the type of form that the exterior instruments might take.
close to a utopia since it represents a placeless place.
The current ideas of
knowledge and reality are increasingly stemming from another placeless
“Does a machine have to possess a body like my own and be able to experience personally behaviour like my own in order to share in what we call intelligent behaviour? While it may seem absurd, I believe the answer is yes” 14 - Nicolas Negroponte
place, that of the virtual online environment, which makes it problematic in contesting any space itself and defining specific boundaries. With all the media and the official news service only existing to maintain the illusion of
In my opinion, Negroponte’s notion of mimesis of the body in order to
actuality of the reality of the stakes, of the objectivity of the facts,”11 the
create external objects that can interact as well as ourselves almost abdicates
“blurring of space starts to displace categories such as the visible and the
a state worship and fetish which is “by definition, a kind of ornament that
articulate by detaching form from a one-to-one relationship with function and
assumes the role and status of the structure to which it is added.”15 The new
world ideas he puts forward of externalisation of “digital butlers”16 which are intelligent, self-adapting, "learning and developing over time"17 is the only way
"What's intriguing for me is how we've evolved as absent bodies. Because the body is designed to be open to the world, because the body is composed of external input devices, it means that the body projects into space. Mentally, we operate in the world and our physical bodies seem to recede behind us, and the only time our physicality surfaces is when we malfunction, when we feel sick, when we do yoga. So, we operate mentally in the world because we've evolved as absent bodies, as bodies designed to be open to the environment. That absence is heightened by the fact that we function automatically and habitually. When I increasingly malfunction, it means that I look forward to an increasing awareness."13- Stelarc !
needed to face the information overload he predicted that we face today, where external objects cross over the boundary of the body and fulfill certain roles in order to help it evolve. This approach questions the configuration and the way we generate our structural immersion into the digital world through new immersive apparatuses coupled with machines, like an organism with connections, which associate it to different flows18. This externalisation has become a more controlled ideology that is relatable from one world to another
Stelarc’s body hook suspensions and other media and mechanical
and has given rise to devices and material objects that have allowed, as a
based experimentations have already given way to insights of immersion and
result of fragmentation, a state of greater stability. As all of these devices start
ibid. Apprich Clemens- Urban heterotopia: zoning digital space http://www.iwm.at/index.php?option=com_content&task=view&id=116&Itemid=125#_edn22 11 Baudrillard Jean, - Simulations ,translated by Paul Foss, Paul Patton and Philip Beitchman Published 1983 by Semiotext[e], Columbia University, New York, USA, pg71 12 Eisenman Architects - Blurred Zones, Investigations of the interstitial st The Monacelli Press, 1 published in the USA in 2002 by Monacelli Press. pg7 13 J.Jones Mark.– Still hanging around http://www.cyberstage.org/archive/cstage12/stelrc.htm
Negroponte Nicolas - Being Digital First published in Great Britain in 1995 by Hodder and Stoughton. pg 49 15 Whiting Sarah , Mitchell Edward , Lynn Greg - Fetish, A Princton Architectural Journal, th Volume 4, Published in 1992 by the Princeton Architectural Press, 37 East 7 Street, New York, New York 10003. pg 104 16 Negroponte Nicolas - Being Digital First published in Great Britain in 1995 by Hodder and Stoughton pg152 17 Ibid. pg155 18 Baudrillard Jean, - Simulations ,translated by Paul Foss, Paul Patton and Philip Beitchman Published 1983 by Semiotext[e], Columbia University, New York, USA
to grow and evolve into replicas of ourselves or parts of our structure,
the term quite literally”25 in terms of blurring space and boundaries. In a
“representation tries to absorb simulation by interpreting it as false
material less approach to address the speed of change of media and society,
representation, simulation envelops the whole edifice of representation as
Diller and Scoffidio’s idea of space relies on a format that cannot be quantified
itself a simulacrum”19.
or measured apart from the structure that it is projected from. Speed and
The real issue however stems from when “one enters into simulation
aggression of media is missing as a manifestation in the blur building, not
and hence into absolute manipulation”20, the structural properties of a state of
because of the lack of ideas but because of the period of time that it was
immersion create a moral issue within the sphere of communication. With the
developed. A physical manifestation of speed, change and structural
increase of tele-presence posing itself as a mechanical entity, a new type of
verticality of the digital environment is difficult to configure which is why their
conflict has created a crossover into reality, posing as reality itself. The
experiment remains as a metaphor for boundaries and space being constantly
puppet like proportions of this immersive industry seems to resonate elements
of Plato’s cave in addressing the structural control of the machinic style of the arrangement within the industry of entertainment. While “the mobile camera and the emancipation of the view point”
“From a tool of permanence and planning, zoning became an instrument of transience and politics”26. – Sarah Whiting
throughout the years has tried to
communicate in a more true to reality manner, it highlights the fact that it still
As a perspective viewpoint of protest and contested boundary, it
is a communication form that uses “fixed spatial determinations, slices of
highlights the issue that built space suffers from being a concept bound by its
space or distances in relation to the camera”22 which affects judgement on
medieval hierarchic ensemble of places27 that has been forcing it to become
reality. The relationship of the external device of the camera becomes much
an obsolete concept of restructuring space since the 19th century. While “our
more than a mere spatial interpretation. Instead of “attaching ourselves to the
epoch is one in which space takes for us the form of relations among sites,”28
inner becoming of things, we place ourselves outside them in order to
it does not account for the changeability and deconstruction that is bought by
recompose their becoming artificially,”23 a state in which media and the public
the unaccountable presence of the natural world through earthquakes and
realm is constantly at conflict with in trying to prevent a belief in ‘shadows’ of
other environmental phenomena which constantly corrupt the presence of
objects as whole truths.24
connections and cross boundary innovation. As the web space cannot be
As a physical manifestation of unbound and immersive space that
classed as a structure of utopia, it should be the space that can counter the
attempts to address the mediation between tele-presence, digital media and
fact that “the notions of centre and periphery have lost their stability and
the real space sits the blur building structure by architects Diller and Scoffidio.
validity”29 within the digital environment. In a locational sense it can be only
Peter Eiseman’s criticism of the ‘blur’ has pointed out “Diller and Scoffidio use
placed in Foucaults ideas of heterotopia, structurally infiltrating the spaces of reality by forming “counter-sites, a kind of effectively enacted utopia in which
Ibid. pg11! 20 Ibid. pg57 21 Deleuze Gilles - Cinema 1 : the movement-image ; translated by Gilles Tomlinson, Hugh Habberjam, University of Minnesota Press , 10/1986, pg 3 22 Ibid. pg 25 23 Creative Evolution by Henri Bergson with an introduction by Pete A.Y.Gunter Barnes & noble publishing 2005, originally published in 1907- pg 252 24 Plato – The Republic Published by the Penguin Group Ltd, 27 Wrights Lane, London w85tz, England, first published in this translation 1955, pg257
Eisenman Architects - Blurred Zones, Investigations of the interstitial st The Monacelli Press, 1 published in the USA in 2002 by Monacelli Press. pg6! 26 Whiting, Sarah - Quiet Riot, PROTEST SPACE: When Speech is Zoned, is it Free? http://www.wired.com/wired/archive/11.06/protest_spc.html 27 Foucault Michel : Of other Spaces (1967), Heterotopias http://audiolabo.free.fr/revue2002/heterotopias.htm 28 ibid. 29 Koolhaas Rem , Havard project on the city, Boeri Stefano , Kwinter Stanford, Tazi Nadia, Obrist Hans Ulrich, - Mutations ,Published by ACTAR , 2000 pg 503pg 43
the real sites, all the other sites can be found within culture, are
politics has developed into a virtual environment that is affecting the real
simultaneously represented, contested and inverted” .
environment itself as increasingly “computing and television are merging with
The importance of location has shifted in its role, moving from a
communications infrastructure and demanding through economic pressure to
definition of specific co-ordinated space to a larger unmapped and
be pushed to the continual foreground of active attention.”34 The ease of
uncontrolled universe bearing both its significance on how we perceive our
access of these networking webs both enhances reach and diversifies the
own personal space and how it is dealt with in a virtual environment. The
structure of the political agenda and with current online voting implementation,
highly unregulated nature of the internet to date has only the kill switch bill of
location strategies once again are rethought.
in the USA to answer to in terms of boundary control within the web
The social networking structure of contested web space has
space, controversially being the only law that allows the president and
increasingly become a business model of power and domination of space and
government to have total control over parts of the internet if in danger of an
boundary for “some have sought to overturn the situation and subvert
attack of any sort. While “cyber democracy or electronic democracy are the
information capitalism by taking advantage of digital convergence and of the
new tubes which should transform the passive spectator democracy into an
immateriality of software and cultural productions, in order to question the
active participatory democracy and, at the same time, create a global public
notions of commodity and property.”35 As a result, this has pushed
sphere,”32 it is apparent that the benefits that come with web fuelled activism
competitors offline and can be deemed a threat to the governing and
has in fact bought to the surface the boundary of our speech and the influence
regulatory bodies of both the digital and the virtual environments. Google
it can have. Politically charged locations are no longer only an issue of the
goes as far as to outline the political dominance of the space itself on its own
physical world as they have been forced online to the point where our free
open public policy blog which continually discusses privacy of data but also
speech zone needs a new shape, one with less mapping and more latitude33
states and develops an outline that will ‘help’ political online presence in an
due to its lack of containment and the plethora of boundaries it can now cross.
attempt to create a wider zonal territory and awareness36. It seems to
In the same space of time that this has been realised, the political
abdicate rules and regulations to larger governing bodies for controlling the
space has now inflicted itself within the online space by trying to contest and
lateral structure of the internet, allowing political and structural decisions to
place itself within the digital world and still trying to practice its validity as a
become regulated by an invisible structure of the internet. This new direction
governing body. Governments have taken to the social networks and other
of governance and the blurring of hierarchy validates the fact that “if it's dull
means of social communication, taking over the physical space and creating
nostalgia to dream of café politics, it's deliberate neglect to stand by while
new crossover territories that can both strengthen and weaken
dialog and debate are zoned out of our democracies”,37 something that can
implementations of the system of politics. This choice of direction by
be overlooked and under appreciated within this world of excessive self
governments however has generated a conflict of boundaries between how
promotion strategies merely for the reasons of self pleasure and power. The
Apprich Clemens- Urban heterotopia: zoning digital space http://www.iwm.at/index.php?option=com_content&task=view&id=116&Itemid=125#_edn22
Koolhaas Rem , Havard project on the city, Boeri Stefano , Kwinter Stanford, Tazi Nadia, Obrist Hans Ulrich, - Mutations Published by ACTAR , 2000, pg 515! 35 Ibid. pg48 36 Google public policy forums - Copyright © 2009 Google Inc http://googlepublicpolicy.blogspot.com/ 37 Whiting Sarah - Quiet Riot, PROTEST SPACE: When Speech is Zoned, is it Free? http://www.wired.com/wired/archive/11.06/protest_spc.html
http://news.techworld.com/security/3228198/obama-internet-kill-switch-plan-approved-byus-senate-panel/ 32 Apprich Clemens- Urban heterotopia: zoning digital space http://www.iwm.at/index.php?option=com_content&task=view&id=116&Itemid=125#_edn22 33 Whiting Sarah - Quiet Riot, PROTEST SPACE: When Speech is Zoned, is it Free? http://www.wired.com/wired/archive/11.06/protest_spc.html
example taken by wikileaks is a strong enough argument to use as the
that we understand in order to retain influence and meaning of what
ultimate modern day perversion of space and boundary that has had infinite
contesting a boundary can achieve in order not avoid a repeated state of
repercussions on structures both of hierarchy and governance both in the
hierarchy. As “we live inside a set of relations that delineates sites which are
digital and the real world and we cannot stand idly by not wondering of the
irreducible to one another and absolutely not super imposable on one
prospect of a cyber warfare to emerge.
another”39, the basis of my architectural exploration will be generated from
If we have learnt anything from the current trends of the virtual spaces
this idea itself by dealing with the geometries of turbulence of contesting the
such as the immersive digital universe presented to us through models such
technological, artistic, political, social, cultural and natural spaces. Through
as the movie Tron or the social immersive multiverse of facebook it is that the
historical algorithms and methods, mazes, computational zones and time
interaction between the physical and the virtual has come to the point where
zones, I will express the implications of an unbound architectural space that
we can actually live our entire lives online or create a good enough universe
builds and structures itself from invisible geometries within a natural
to do so. The self-voyeuristic tendencies of the digital world extend character
landscape. It will form as an architectural proposal of laterality and shift,
and personality beyond the sphere of the bodily space as we evolve online
equipped to portray the microcosmic crossovers between objects, interface
while our bodies are left behind. It is only when you enter this territory that you
and command that restructure the way space has to become adaptable,
realise the level of interaction that has been reached and the level of
knowledgeable, and relatable in more levels than direct interaction. The
voyeurism that has been created purely through interface. We have come to a
importance and struggle of presence will be composed architecturally as a
stage where we are forced to digitize our lives and risk fragmentation and a
lateral cartography in which the volumes of impact of these geometries can be
creation of digital refugees in the process of this transition between online and
viewed and understood through their relationships with each other and the
offline spaces, people who are stuck in limbo from moving forward into
impact they will have within creating physical space.
adopting technology and interface and people who won’t let go of the familiar in order to re-zone and adapt. Today the vast majority of us have succumb to a digital captivity scenario where we are becoming hostage to the virtual space and treating it as a breathing and functioning apparatus with gadgetry devices that define the personal space. “We should not be dreaming about floating cities, but rather, we should be building ships in order to navigate in the oceans of knowledge. This is because the ship- “is the heterotopia par excellence. In civilisations without boats, dreams dry up, spying takes the place of adventure, and the police take the place of pirates” – Foucault With the population of 7 billion people targeted by the end of 2011, which if standing side by side would fill only Los Angeles38, it is clear that !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
space in the real world is not lacking. We have to constantly shift the zones !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Foucault Michel : Of other Spaces (1967), Heterotopiashttp://audiolabo.free.fr/revue2002/heterotopias.htm
National Geographic, January 2011, volume 219, No.1 Published in 2010 by the National Geographic Magazine, PO BOX 98199, Washington DC.
14. Negroponte, Nicolas - Being Digital First published in Great Britain in 1995 by Hodder and Stoughton.
1. Apprich Clemens- Urban heterotopia: zoning digital space http://www.iwm.at/index.php?option=com_content&task=view&id=116&Itemid =125#_edn22
15. Plato – The Republic Published by the Penguin Group Ltd, 27 Wrights Lane, London w85tz, England, first published in this translation 1955
2. Baudrillard, Jean - Simulations ,translated by Paul Foss, Paul Patton and Philip Beitchma Published 1983 by Semiotext[e], Columbia University, New York, USA
16. Silberman-Keller Diana - Mirror images: popular culture and education Printed in the USA, 2008 Peter Lang Publishing INC, New York, 29 Broadway, 18th floor, New York, NY 10006
3. Bergson Henri - Creative Evolution, with an introduction by Pete A.Y.Gunter Barnes & noble publishing 2005, originally published in 1907
17. Whiting Sarah , Mitchell Edward , Lynn Greg - Fetish, A Princton Architectural Journal, Volume 4 Published in 1992 by the Princeton Architectural Press, 37 East 7th Street, New York, New York 10003.
4. Deleuze Gilles - Cinema 1 : the movement-image ; translated by Gilles Tomlinson, Hugh Habberjam, Barbara University of Minnesota Press , 10/1986 ! "# Deleuze Gilles ,Guattari Félix; A thousand plateaus : capitalism and schizophrenia / translation and foreword by Brian Massumi. London : Athlone Press, 1988.! ! 6. Eisenman Architects - Blurred Zones, Investigations of the interstitial The Monacelli Press, 1st published in the USA in 2002 by Monacelli Press.
18. Whiting Sarah - Quiet Riot, PROTEST SPACE: When Speech is Zoned, is it Free? http://www.wired.com/wired/archive/11.06/protest_spc.html 19. Wolf, Virginia - To the lighthouse , edited with an introduction and notes by Margaret Drabble First published in World’s classics by Oxford University Press in 1999. ! 20. YRG Araujo - Immersion as “Social Machine”- analysing the coupling HumanMachine in the industry of entertainment, 2003 http://scholar.google.co.uk/scholar?q=related:In0AhbtD5DwJ:scholar.google.c om/&hl=en&as_sdt=0,5
7. Foucault Michael : Of other Spaces (1967), Heterotopias http://audiolabo.free.fr/revue2002/heterotopias.htm 8. Google public policy forums - Copyright © 2009 Google Inc http://googlepublicpolicy.blogspot.com/ 9. Howe, Jeff - The New Border Wars, BORDER SPACE: Lines in the Sand, http://www.wired.com/wired/archive/11.06/border_wars.html
10. J.Jones Mark.– Still hanging around http://www.cyberstage.org/archive/cstage12/stelrc.htm 11. Koolhaas Rem, Havard project on the city, Boeri Stefano , Kwinter Stanford, Tazi Nadia, Obrist Hans Ulrich, - Mutations Published by ACTAR , 2000
! ! !
$%# Lacan, Jacques -Ecrits The first complete edition in English / Jacques Lacan ; translated by Bruce Fink in collaboration with Héloïse Fink and Russell Grigg. New York ; London : W.W. Norton & Co., c2006.! 13. National Geographic, January 2011, volume 219, No.1 , Published in 2010 by the National Geographic Magazine, PO BOX 98199, Washington DC.
Appearing at a time of fragmentation and stability within a turbulent historical period, the significance of the story of the Venus de Milo is one that addresses the a cultural struggle and development of empires as dominant superpowers, with Napoleon being at the forefront of this particular development. From being merely uncovered by farmers as four fragmented structures, undergoing two reconstructions, the loss of the arms and the change of the function of the arms to the replica of today in the Louvre in Paris, the struggle for her own stability as well as the stability of its resemblance within the historical, art and ever evolving male dominated environment are all issues for contemplation, interest and speculation. This is what makes her story so interesting into trying to explain and relate the structure of the body itself with ideas of body reconfiguration, reworking or adding to it as ways to explain concepts of mimesis, concepts of the object and concepts of the crossovers within communication systems and vessels that are ever evolving today as a question of the relevance of presence. The interrogation of the boundaries of each of these concepts seeks to question the relevance of the hierarchy of creation of static space and object.
Aim: Rather than replicate the story of her conception, I have used the story as a background driver for creation of the following pieces in order to speculate the missing parts of her history and her body as well as exploring new narratives of reconnected and reconstructive regimes as a generative motive for a new geometric exploration as a departure from traditional the Euclidian system of objects and space.
The Nicodian system of points: Jean Nicods understanding of geometry as a device of induction that grows out of creation of various points along a system and joining them together as an infinite number of variables. By applying these points within a system and by creating a mathematically applied geometric induction of objects which is caused by an entropic fluctuation within a moving system, he was able to layout the rationalisation for the elegance of the geometry that applied to the shift of the object. In the case of my models, these geometries shift and change their relationship in an entropic mannerism depending on light, time, material density and composition. My system is not mechanical in derivation of its geometry. My system is architectural. Light is the primary source for narrative and derivation. Light becomes the entropic motivation device that delineates the reappropriation and generates the telescoped agenda through the pieces I have created. The scars in the system and the distances that they generate due to the models time based movement represent the physical shift in contrast to the shift in light and entropy. Mimesis is not the goal. It is a conversation on the notion of mimesis as literal representation or literal recreation of the object by breaking down its parts and assessing its relevance as a design driver, both in the built as well as the ever expanding digital world in which we constantly increase our presence.
a return to the body ~ the Venus de Milo as a simulacra: specific and systemic exploration through making 20
The Phantom: Re-networking is a very common phenomenon which exists as a result of improper growth of the body, an operational defect or a necessary severance of a part of the body or a part of the skin. The phantom limb phenomena that comes as a result to these missing members of the body generate a ground of interest an basis of exploration in terms of defining territoriality between the physical aspects of the body and the neurological ‘less seen’ networks which are the result of the physical abnormality but still constitute as a replacement feeling for the physical. The severance of the body causes distress and creates a changing cortical topography. While the old neurological topography changes, a new one is replaced.
Telescoping: Telescoping in phantom limbs - as time pass and the limb feeling shortens in the process through stages until two separate pieces are hanging, i.e. the shoulder and hand which is caused by cortical magnification of the body parts. As time goes by the patients suffering from this phenomenon start to re-configure their nervous systems by re-association of previously existing parts of the body to other areas, but traces and remains of the process are still evident within the system.
Spectronomy : The process of spectronomy here is used as a technological reference of possibility to creating the intermediate space. Traditional technologies of EMF sensors used for creation of electromagnetic fields to create a sensory mapping structure over the parts of the body, a method traditionally used to monitor field movement of traces within a space, much like a humidity machine would measure the moisture of the room. As the issues are time and location based in the system the movement of the light is used as an entropic measuring system to re-configure the fragmentation and the state undergone by the Venus’ reconstruction as a breakdown of the body to a state of sequence and reference between networks. The possibility of creating devices within the missing space is what I am speculating on in terms of boundary shifting though a time based possibility that has been taken into consideration and which cross references the time based movement of the original sculpture regarding her ‘dragging’ of her hand through the sand and dirt to her current state as a creation of narrative of her operated state. The complete plaster structure standing in the Louvre is not complete. It is more fractured than ever. The furniture in reality does not change, but the effect it has in a different space varies in mass, density, volume, light, perception of the same object and the ideas of the light moving through the system of these latex surgical splits which I have designed as ‘entries’ into the system is what enables this bridging of the space together and the bonding of the material together with the light in order to allow the new interpretation of the object to be taken into account and viewed either as a severed piece from another space, an object which has taken on another form, or a previous reworked object that has been pushed through a new space and given new life through its materiality. The dragging, making and scaring of the lead pieces through the bitumen covered pieces are there to serve as a script for the conceivable blueprints which can be used as drawings for constructing light systems that create a joining of fragmentation and light together. The temperature shift of the bitumen over time allows it to expand and move over the structure, taking everything in its path with it. It is the remapping that reminds us of the Lacanian ‘mirror stage’, a kind of re-trapping into that few month period in which has been the core of your growth and what has achieved and developed your growth through the ages. The constant instabilities of the human psyche are continually renewed and projected through the Deleuzian coordinates within the “time-image” and a “seer” which oscillate between aesthetics and geometry, only to be revealed by the flashes of light that shift between figure, object and space. My models lie between the initial state of the Venus de Milo’s fractured finding, to her speculated intermediate state of the belief of her arms being the functioned as pointing to specific furniture, and to the final understanding of her gaze and her arms being related to the apple of desire and lust which she and so many other incarnations of the Venus have referred to in history and mythology.
spectronomy as a telescoped interval between space ~ 22
model 1: the wedding ~ The bride and the ceremony. The african red wood sleeper is carved as an imprint of the Venus de Miloâ€™s body. The severing of the arm and the appearance of the armless figure and the separated hand pushing the slit of the skin, allowing light to be transmitted from the surface down into the system and allowing for a reconfiguration that moves from the arm to the hip replacement. The slit being pushed upwards as a scar that resists the presence of another object within the system, an action that is controlled by the lever and the finger. While the finger pushes up, the stalker moves over the body etching into the structure as it moves through the bitumen microphone, increasing the volumes of movement and amplifying the time within the system. The use of guitar strings as another movement mechanism as the coil like structure increases the time of shift that has been already delayed by the bitumen while the lead and chicken bone microphones record the creasing of the bitumen and generates another layer of explanation and speculation to the system.
the phantom consummation ~
the scripting hook~ Moving along a landscape and recording the creasing of the bitumen through a microphone installed beneath the hook. A cartographical device for a body carving and marking as a layout for a blueprint for incision and entry to the body for the bachelor.
Lead and chicken bone microphone ~ Measuring oscillation between skin and space and material displacement. The formation of the structure develops as a structural narrative for the restructuring of the material and creates a change of direction of the bitumen.
the curtain veil lead weights ~ Speed controller overrides to the system of movement of the material that keeps the model in a constant state of tension and flux as it applies a layer of time over the transition of light. As the curtain rises, the bachelor is revealed from the shadows.
the scar ~ The entry to the system is formed by the scar in the latex that is constantly in motion as the telescoped finger beneath it is continually pushing it upward and allowing a greater amount of light to enter the system and configure what lies beneath the skin itself.
the telescoped finger~ The last path before total re-networking of the neurological system and a cortical remapping. The fingerâ€™s disconnection from the full arm allows for geometric speculation of the arms real position and construction
the Venus~ A reference to the original geometry of the Venus de Milo. She stands, she waits, she anticipates the union.
the torsion lever~ Acting as a geometric mediation device between all the parts of the system as all the components are wired and filtered through it. A dictator of the direction and the level of the light entering the system. A temporary navigational stability for the cortical re-scripting
model 2: the supporting role ~ The model is reminiscent of Duschamps nude moving down the stairs. As the fabric movement of the copper generates movement from the varying heights and levels of the spaces, it causes the lead imprint of the body to separate from the top torso. The nude needs the material over her body. The shadows penetrate the moving copper cloth as the form moves from the top floor, through the keyhole where it meets the glass neck structure and progresses down into the space below where both pieces separate and allow for an individual reading, which results in the copper continuing to move vertically penetrating the latex floor below and the neck to separate and speculate on the repositioning and reconstruction of the spine and the cortical system that joins to it.
the telescoped bridesmaid ~ 44
the lead imprint ~ The negative print of the Venus de Miloâ€™s body taken from the first model is used as a reference to create a narrative of the breakage from the top and bottom torso of the body as an alternative to the actual removal of the part of the body. While the top part of the lead structure is firm in the bitumen, the bottom part is attached to the rest of the system and is dragged along the landscape as it becomes a part of another system, measured through the tendon lever and the copper torso.
the copper torso ~ Forged and shaped like a fluctuating piece of fabric, the copper piece attempts to address the fluctuation and dynamic shift of the system as a transition rather than a clear cut and replace mechanism. Its descendance and transitional nature create a continuum of a dynamic that can be associate through an entropic geometry and a fluid system of growth.
the tendon lever ~ The lever acts as a measurement of displacement of motion in as a tracking mechanism to measure the tense point of breakage between the lead imprint, the glass neck and the copper torso.
the keyhole and the disconnected neck ~ The point where the fluid system disconnects and allows a transformation into a new space. The keyhole entry to the system as a physical manifestation of a specific condition and how that condition controls the states of the space above and below it. It inspires a new point in the system, a new space of growth and a morphological dimension for expansion of geometric apparatuses. This is the point where the glass neck joins together within the rest of the system and also departs from it, taking on a geometric possibility of its own that addresses the shift felt by the lead imprint on the top of the model.
the fluctuating floor ~ The horizontal breakage. The point where the material breaks into the second room. A tense point of shift. A creation of a waiting space for the bachelor. A change of shadow geometry. A purveyor of new incisions. A translation of the scar. A projected scar.
model 3: the second supporting role ~ The second bridesmaid completes the triptych of the ceremony. After the first bridesmaid creates the telescoped incisions that occur within the fabric of the motion in a vertical structure, the horizontal navigation of the process is now addressed in the movement of geometries from space to space. The creation of the two independent torsoes as a ripping device that translates from material to geometry through Nicodian induction. As the model moves through time, the aim is to navigate the densities of light entering from two separate sources and attempt to explain the reasoning for the shift from one source to another. While the levers and the pelvic-like creation of the model resonate true to the physical structure of the body, it begins to speculate a shift of form and geometry and how the same density can be created within the system by using different paths of entry or a different geometric approach to refilling the space.
the navigational bridesmaid~ 62
the brass knee shearer and the latex backdoor~ The rip and tension between the limbs of the body and the skin is scripted through the brass sculpted pieces that themselves are tested and pushed geometrically and physically through the latex openings. As time progresses, the slits will grow as the brass is pushed more violently into the space allowing for a change of direction of light and a re-scripting of the devices within the space. The pieces are directly pointed towards the spine inside the model as a way of discussing the new path of regeneration. The spine is the constant for the system to run along.
the apple of navigation~ The apple is used as the main directional device for the association of the fragmentation. The apple is the object which creates the gaze to the hand of the Venus. The apple rolls past the floor and is picked up by the Venus. The apple is a directional tool for the control of light within the system. The apple controls the healing of the scar and illuminates the opening of the new scar. The forbidden fruit changes the Venus de Miloâ€™s from object of sport to object of beauty and historical significance. The apple gives the Venus her final form.
the lead chariots~ Acting as a tension pulley structure to the system, the chariots control and filter the various components which are attached to them, allowing for a more controlled geometry to conform and function elegantly
the latex front door~ The primary light entry to the system is left open for the chariots to seal and allow the back door to be revealed
the pace sieve~ This piece acts as a system breaker of time and allows for a greater control of the movement of the armature that is attached to the end of the brass knees. The shapes represent the point of connection of the pelvic structure of the body to the legs, therefore representing a point of friction in the system.
the spine ~ The constant railing device that allows the constant transition of the light from piece to piece
the microphone~ The recorder of the crease of the bitumen
model 3: the positive ~ The completion of the model tryptic with the positive structure as a severed piece removed generates a narrative of the removed piece of the body. It is not only the shape of the piece that is relatable as the missing structure but also the presence of the materials existing three hole structure in a formation that is a basis for the drawing and creation of a human figure as a regenerated geometric form. The copper hatchet at the top of the piece moves as the lead curtain weight moves down carving into the structure to reveal what lies inside of the wood. It lends itself to the speculation of a creation of a piece of apparatus used to reconstruct the space it was removed from as well as the type of systems needed to remove it.
the ringbearer 88
the microphone~ As a reference and relatable point of the Euclidian system that is formed by the rest of the microphone points in the other models. This microphone is a crease recorder too but constitutes itself as the â€˜lostâ€™ movement within the other incomplete systems.
the mediator ~ The lead lapel like structure acts as a constant within the system of transition and translation. Formed as an organic growth, it becomes a point of geometric mutation and control.
the healing scalpel ~ The lead member acts as a carving device that regulates the scar healing qualities of the system. The shift through the bitumen creates the forcible opening of the copper hatchet into a state of tension and geometric shift as it becomes a type of unveiling device for the scars that it has just moved through and generated
visiting model : The stalker ALEXANDER, the sculptor, the bachelor, the fragmentor, the boundary between the figure and its perception. The object of Alexander is created as a of the geometries of the Venusâ€™ lower torso. The Venus now is the one with the power over the sculptor. The cymbal winged joints are used as a hinge to articulate movement from one state of geometry to another and how the wings fold within a system and transform an pierce the space. The bachelor serenades the Venus into a compositional dance. The stalker moves between becoming the stalker and the sculptor. His presence in each of the pieces as a visitor is marked by the final serenading of the structure with the sculpture of the Venus de Milo as her lover. In the telescoped bridesmaid piece, the Venus is waiting for the bride to descend the stairs while he waits for the bride with his dagger to attack, to scar, to reconfigure and to replace. After this act of violence he is tasked with becoming the re-tracer ~ the geometry and the information collector in order to regenerate and reconstitute the geometries, leaving his own trails and traces within the system.
Raw lighting development process ~
Telescoping through the revealing of the parts of the body. Specific light directional fields. Movement to create narratives and geometries for the in-between furniture. Multiple exposure methods and constant shift of the light and their densities from photo to photo. A new developed method of revealing structure, narrative and function
phantom orchestrations 102
the phantom consummation~ elevation The shutter flickers. The door bends and the floor implodes to the pressure of the nomadic floor. The blade scrapes past narrowly missing the first limb and endeavouring to perforate the next. The space falls silent while the glass grows and oscillates. The Venus is severed The entry to the system is beginning The bachelor enters as a glimpse through the curtain The serenade is complete with the revealing of the bachelor The ceremony begins
the phantom consummation~ plan
the telescoped bridesmaid ~ elevation
Masked by the shadows that flow alongside the wall and penetrate the pieces at different states. The telescoping nature of the fabric creating a connection between the bodies and the spine and the head. The bottom torso is disconnected The hip is geometrically challenged The figure is descending the stairs The neck is dislocated. The figure penetrates the bottom floor The bachelor is quietly watching, waiting in the bottom floor while the glimpse of the veil appears. The floor bends into a vortex state.
the telescoped bridesmaid ~ plan
the navigational bridesmaid ~ elevation The apple begins the journey. The chariots reign in the friction. The front door slowly heals. The legs push and torque. The back door is slowly revealed. The new light hits the spine. A new network is established
the navigational bridesmaid ~ plan
the ringbearer ~ elevation The scalpel flickers. The body is marked. The curtain is unveiled. The hatchet rises and reveals the shift of time
the ringbearer ~ plan
a new language of shift and mapping ~ This video adds in-between sequences that are missing from the static spaces in the images. It becomes a re-configurational map that demonstrates the delicacy of the models, the delicacy of the light and the delicacy of the shift of the Nicodian geometric elegance within the Euclidian space of the room. It speculates on the possibilities of motion mapping and the generation of a drawing path that can be used as a directional narrative for the further creation of new devices that lie between the mapped spaces and generate a core architectural structure. This structure can allow for new methods of site specific construction and material such as the ground up biological growth material of protocell, a dynamic oil-in-water droplet system, that is capable of movement and complex behaviour, to embark on a path of healing of a space. By healing, I mean by replacing. By replacing I donâ€™t mean by means of mimesis but by means of understanding the shift of the density and volume of the previous member within the space and reappropriating it to fill the void of the system to create it as a whole once again. In this system, the light is the fuel for the protocellular reaction and the objects of the model act as the system controller.
entropic motion and possibilities of protocellular scaffoldings~ 120