Making/Photography/Process and Aesthetics

•October 7, 2017 • Leave a Comment

Open Systems/Speculative,Dynamic, Creative. An assemblage/energy of images,collage, drawing and texts and other disparate elements.

Source: Making/Photography/Process and Aesthetics

Saturday, 7 October 2017

Making/Photography/Process and Aesthetics

Found Objects : Archaeological Photogram

When you make photograms, without the use of a camera, you can indeed call that abstract photography, as the lens and the corresponding registration medium are lacking. No longer do you have pictures of reality or objects; you only have their shadows. It is a bit like Plato’s cave, where one could only imagine reality; the objects themselves were not visible.
—Thomas Ruff

Frameworks with Enclosures 6

Of the mason’s who built them, we can say that they both designed as they drew, and drew as they designed. But their designing, like their drawing, was a process of work, not a  project of the mind.
Tim Ingold ‘Making’

The Mirrored Abbey :  The Photographic Aesthetics of Decay

Nothingness, Nostalgia and the Absence of Reason.
The Aesthetics of Decay, Dylan Trigg,

TRANSPARENT MEDIA : Form,structure, space, enchantment
Double Take
15 APR – 3 JUL 2016

A two-venue exhibition exploring the relationship between drawing and photography, taking place at Drawing Room and The Photographer’s Gallery, London.

Drawing and photography are each considered the most direct, ‘transparent’ media with which to engage with the world.  They share fascinating parallels:  the relationship to the indexical, the blank sheet of paper or surface, graphite and silver, pencil weight and aperture, the sense of an invisible ‘apparatus’ (the camera and pencil), the engagement with surface, light, negative and positive and the trace. Double Take seeks to explore the multifarious ways photography and drawing have been combined and mirrored to extend both practices into new arenas in modern and contemporary practices.

“… a freehand sketch diagram that was at the tangent between idea and imagination…if the parti – the first critical diagram – is not made well, it will be difficult for architecture to follow.  If there is no parti, there will be no architecture, only (at best) little more than the utility of construction.  Buried within their early sketches is the germ of a narrative or language.  The early diagrams are reflective conversations with the language of architecture.”

–  Alan Phillips, Brighton, UK


In Defence of Sensuality : John Cowper Powys 1930.

•June 4, 2017 • Leave a Comment

Foreword. The author feels that perhaps some explanation is due to the reader for the rather unusual employment of the wor…

Source: In Defence of Sensuality : John Cowper Powys 1930.


The author feels that perhaps some explanation is due to the reader for the rather unusual employment of the word “Sensuality” which serves as the title of this work. The advantage given to the author by the use of this particular expression is that it enables him to proceed from rock-bottom upwards as far as he likes. A more refined title would have cut him off, in his method of developing his idea, from the physical roots of existence; for while it is easy to indicate the overtones and undertones of Sensuality it would be hard to bring a gentle, vague word, like the word “sensuousness” down to the bare, stark, stoically-stripped Life-Sensation which is the subject of this book.
Dedicated to the memory of that great
and much-abused man
Jean-Jacques Rousseau
“In the water” : Pinhole Photography/ Floating Camera
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Reading Spaces/Tracing Light and The Illustrated Man

•June 4, 2017 • Leave a Comment

Source: Reading Spaces/Tracing Light and The Illustrated Man


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Life Drawing : An Emotional History

•April 7, 2017 • Leave a Comment

An assemblage of images,collage, drawing and texts and other disparate elements.

Source: Life Drawing : An Emotional History

Humanity : An Emotional History
Stuart Walton. 2004


Oxford Dictionary of Geography: spatiality

The effect that space has on actions, interactions, entities, concepts, and theories. Physical spatiality can also be metaphorical. It is used to show social power—thrones are higher than the seats of commoners, and ‘high tables’ for university teachers in most Oxbridge colleges physically elevate the teachers over the taught. People use proximity to show how intimate they want to be with others (See personal space), or orientation; we may face someone or turn away from them. Institutions and governments have used large architectural spaces to invoke awe, while restaurateurs may create ‘cosiness’ in small spaces.

“Spatial turn” The increased attention to matters of space, place and mapping in literary and cultural studies, as well as in social theory, philosophy, and other disciplinary fields.

Spatiality, Robert T. Tally Jr. Routledge 2013.

The origin of “True Humanity” : Tim Ingold

Sensorium : A Partial Taxonomy, Caroline A. Jones.

•April 7, 2017 • Leave a Comment


Contemporary artists aim to produce specific relations with the technologies they adopt and adapt;
This schematic offers a partial taxonomy.
Caroline A. Jones, Sensorium : Embodied Experience, Technology and Contemporary Art 2006

the “cave” paradigm, the virtual helmet, the black-box video, the earphone set

taking technology and “making it strange,” exaggerating attributes to provoke shock, using technologies to switch senses or induce disorientation

work that repurposes  or remakes devices to enhance their insidious or wondrous properties; available data translated into sensible systems

work that holds on to an earlier technology, repurposes or even fetishizes an abandoned one

work that refuses to use marketed technologies for their stated purpose; work that pushes viewers to reject technologies or subvert them

work that takes up technologies and extends or applies them for creative purposes, producing new subjects for the technologies in question

Source: Sensorium : A Partial Taxonomy, Caroline A. Jones.

Krishnamurti – Freedom From The Mental Progamming

•April 5, 2017 • Leave a Comment

An assemblage of images,collage, drawing and texts and other disparate elements.

Source: Krishnamurti – Freedom From The Mental Progamming

Clay/Jug and the Primacy of Being :The Potter and The Philosopher

•March 20, 2017 • Leave a Comment

Clay/Jug and the Primacy of Being :The Potter and The Philosopher
Working Notes. Visuals and Text

Clay and the Primacy of Being
The Potter and The Philosopher

Innerness and Defined Space

Manifesting the everyday crafts of life in a physical form

The Potter ( Hans Coper) and the Philosopher (Martin Heidegger),
Throwing, Building, Dwelling, Thinking.

The innerness of a ceramic vessel can be seen to be dealing with presences and absences, as like that of a building it can demonstrate the presence of its making and the absence of that same presence.

The Philosopher. Martin Heidegger.

Building Dwelling Thinking. 1951
Heidegger “resolutely romanticised the rural and the low-tech before, during and after Nazism, skating dangerously close to fascist rhetoric of blood and soil.”1

Architecture can help to centre people in the world; it can offer individuals places from which to inquire for themselves. Heidegger felt that this was how architecture had been understood in the past, and that the insatiable rise of technology had obscured that understanding.

Heidegger interested on centring his qualities of architecture around those of human experience, to reintegrate building with dwelling, making the qualities of its inhabitation become part of the buildings authenticity to its locality.

This almost vocational unfinished architecture finds itself more at home with the ongoing daily life than any sort of finished product.”2

Contemporary architects of which Peter Zumthor is an exemplary example utilise and readily acknowledge the influence of Heidegger’s thinking. The inner spaces, the materiality and the locality are all directly traceable to traits found in Heidegger’s notion of the value of human presence and inhabitation.

Heidegger claims for architecture “the authority of immediate experience”3

As recorded in his most architectural writings.

The Origin of the Work of Art 1935/trans 1971
Being and Time 1927/1962
Art and Space 1971/1973

“To Heidegger, proper thinking was highly tuned to the fact of being and its traces. These traces, like our own shadow, the outline of the hills or the sounds of birdsong and stream, remain reminders of our miraculous presence,”4

Building locates human existence,
Heidegger “ believed that building was set out around human presence, configured by it but also configuring the activities of that presence over time”5

This almost vocational activity of building human presence it at the heart of what it means “to dwell”, the poetics of which form the phenomenological inquiry of Gaston Bachelard’s, Poetics of Space. Heidegger acknowledges that the inhabitants lives are in turn configured by the building.

Adam Sharr, notes that “for Heidegger, a building was built according to the specifics of place and inhabitants, shaped by its physical and human topography.”6

Heidegger on Thinking,
The forest track, the clearing, wandering from a starting point and remaining open to findings reached on the way, it could not be readily summarised or contained by a system. It was referential, mystical model that sought to promote the authority of being.

Heidegger on the Void at the centre of the Jug.7

Made from earth/clay/fire connected the human experience of earth and sky. Heidegger attributed sacred qualities to the jugs ability to give/to pour. Part of his fourfold cosmology of earth, sky, divinities and mortals. This “fourfold” represents Heidegger’s attempt at what he judges to be the most primary circumstances of existence, “ the inescapable pre-requisite of the world into which humans are thrown without consent (1962,164-168).

Mythic and mystical, far from the strictures of logical thinking.
Influences on the “fourfold”
Meister Eckhart/mystic theologian.
Lao Tse/eastern philosopher.
Friedrich Holderlin/poet.

George Steiner on the “fourfold” suggests it is a manifestation of an “ideolect” a personal language offered as universal.
Heidegger would refute this on the grounds that it is our technocratic conception of the world that is unhinged not his.

Heidegger: A mysticism that seems to border onto/into the realm of site specific art?
Waverley Project 2014.

Spaces and Shadows in Architecture, Defined Light and Volumes.
In Praise of Shadows. Junichiro Tanizaki
Architectural Voids/ Spaces only assessable whilst under construction, scaffolding and specific access points, maintenance and service corridors/rooms.

Kengo Kuma on “Ma” a void or pause, a rich emptiness, it can be created in many ways: through the
effect of light, or through attention to details.8

Being close to things, Heidegger on Nearness.

“The thing is not “in” nearness, “in” proximity, as if nearness were a container. Nearness is at work in bringing near, as the thinging of the thing,”(1971:177-178)9

This spatial complexity ( Critical Spatial Practices) suggests that we do indeed think through things, this is picked up by Tim Ingold in The Perception of the Environment (Essays in livelihood, dwelling and skill) 2000.

Also see, The Politics of Things/Immediate Architectural Interventions : Durations and Effects. Alres/Lieberman 2013.

On building a house. Ingold.
“The architect, then, conceives the lineaments of the structure, while the builder’s task is to unite the structure with the material”10

Simon Unwin defines architecture as “the determination by which a mind gives intellectual structure to a building”, whereas building is “the performance of physical realization”, of which “a building” is the product. (Unwin. Understanding Architecture 2007)

Heidegger notes that “nearness is a fundamental aspect of human experience, and as such it can be experienced and appreciated through the tactile, cognitive and sociological familiarity of things”11

It is a this relationship of nearness to the daily intricacies of living, being/becoming and dwelling that Heidegger’s philosophy is appropriated into architectural theory and practice. “Nearness thus becomes a function of immediacy : in that one is near to what one finds immediate, however far away it may be.”

For Heidegger, the definite characteristic of a thing (of a pot) is its possibility to bring people nearer to themselves, to help them engage with their existence and the fourfold.12

Heidigger attributed both the Jug and Buildings the potential to gather up and to be able to carry connotations of meeting and assembly, the jug and the building both have a corresponding void, that has the potential to contain/embody his preconditions of existence (the fourfold). This sensing space/void/Ma, can be reflected in the interiors of architecture and can be found within innerness spaces of objects.

The pot like the building participates in daily life.
This can be further theorised into the realm of building social spaces.
In Heidegger’s reasoning by using a table we are in effect constituting ourselves in the process of dwelling, by moving the table to accommodate the needs of its users, we are in effect turning the room back into a building.

Heidegger’s building and dwelling take place together over time, forming ongoing relationships with the world. Like the Potter in his Studio, these critical spatial relations inform both the working practice and the situation and biography of their making.

“Heidegger suggested that it was this disruption of relations between building and dwelling, rather than the production of houses, that remained the most important plight in the contemporary world”13

Piety of Thinking. 1976 (Piety for Heidegger listened to and facilitated the world around)14
Quietude : Allow and enabling what is already there.
Silence in Ceramics. Coper/Rie.

Clay and the Primacy of Being.
Studio Spaces.
The residents’ dwelling was recorded over time in the fabric of the building and the paraphernalia of their lives placed there.
For the philosopher , buildings are rich in insight, comprising a “workshop of long experience and incessant practice. 1971,161.15


1 Adam Sharr. Heidegger for Architects.
2 Adam Sharr. Heidegger for Architects. 3
3 Adam Sharr. Heidegger for Architects. 3

4 Adam Sharr. Heidegger for Architects. 7
5 Adam Sharr. Heidegger for Architects. 9
6 Adam Sharr. Heidegger for Architects. 10
7 Adam Sharr. Heidegger for Architects. 30
8 Kengo Kuma. Sensing Spaces. Royal Academy of Arts. 2014, 65
9 Adam Sharr. Heidegger for Architects. 35
10 Tim Ingold. Making. 59
11 Adam Sharr. Heidegger for Architects. 35
12 Adam Sharr. Heidegger for Architects. 35
13 Adam Sharr. Heidegger for Architects. 43
14 Adam Sharr. Heidegger for Architects. 45

15 Adam Sharr. Heidegger for Architects. 71

An assemblage of images,collage, drawing and texts and other disparate elements.

Source: Clay/Jug and the Primacy of Being :The Potter and The Philosopher

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