TRANSLATION
Architecture is never reducible to a single lens. Architecture requires engagement with multiple logics or conceptual apertures, an entanglement of massing, circulation, light, context, material, labor, phenomenology, and history. To build is to mediate between logics don't traditionally coalesce. When you isolate one lens: void and solid, complexity becomes intimacy for experimentation. Translation becomes a method: a way to let a singular focus reveal itself while acknowledging that any formal agenda is provisional and impartial.
Throughout the module I honed the more personal practical side of iterative work. I started off rather poor as I was only feeding my iterative layers maladaptive elements derived from playing in rhino rather than deriving from other works. Every piece was a complete explorative temperature shift for me, so in the end there was not a connective aesthetic or literal idea but a somewhat connected constellation of distinct ontological concepts-such as the mask-of dynamic literality in form. I wanted to convey the idea of a mask/object in relation to its wielder/subject and how it acts as a breaking of axioms within the context of simulacrum, trying to literally break the simulacrum with nine distinct pieces that all broke the same axiom. This was a great exercise for me in rethinking how peoples experience architecture can change based on its facades relationship to its fenestrations and internal organization as ontologically distinct entities. I accumulated a disruptive dissonance between my interpretation of the work and an outsider's interpretation due to me trying to essentially work up from ex nihilo. On the more practical side, rather unfortunately and unintentionally my ideas of the relationship between the mask and its host would often physically manifest as what could be interpreted as intercourse. This was partly due to my obsession with reconfiguring the role of the void within the form, and how the void then reconfigures the form(s) it intersects. Other than intercourse the biggest obstacle would be maintaining definition while trying to blend the roles of the facade and the object. Towards the second half of my pieces this was the main tectonic I used to assemble distinct pieces. In the end I successfully reconfigured the void and communicated my perspective on the definition of the mask within my own context, but I failed in providing a profound message in outside contexts, as I was too focused on the act of a somewhat imposing recontextualization.
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ANNEMARIE MOL: BODY MULTIPLE
MARCEL MAUSS: TECHNIQUES OF THE BODY
BIOLOGICAL ITERATION IN EVOLUTION VS CULTURAL ITERATION
TRANSITION BETWEEN EVERY PIECE
SUBJECT OBJECT MATERIAL SEMIOTICS
MARGARETE LOCK SITUATED BIOLOGIES
ONTOLOGY VS ETIOLOGY
RETHINKING RELATIONSHIP TO VOID
MAINTAINING BOUNDING BOX
EX NIHILO / TABULA RASA
LAYMAN IMPRESSION VERSUS CREATOR ORIENTATION
BREAKING AXIOM SUCCESS
