Corporeal Phantoms/Attendants : Alternatives/Others in Photography

•February 21, 2018 • Leave a Comment

Corporeal Phantoms/Attendants : Alternatives/Others in Photography

Working Title : Montage Samples
Historical Presence #4

Helena Eflerova, 18 minute rehearsal ,GASP 2009

Art as Spatial Practice.
Space folds : Containing “Spatialities around historicality and sociality”

“All that is solid melts into air”

Karl Marx, Friedrich Engels,
(Poetic observation concerning the constant revolutionizing of social conditions)

Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013

Do you live as Humans in the Holocene or as Earthbound in the Anthropocene? (50.37)

Dr. Bruno Latour on climate change and the “Anthropocene”: Wall Exchange, Fall 2013

Camera Obscura : Physical Touch #2

Photograph (240) drawing

Sequential Photograph : Performing Photography/The Inseparable Attendant


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

Source: Corporeal Phantoms/Attendants : Alternatives/Others in Photography


Woven : Visual Environs/Notes/Kengo Kuma

•February 14, 2018 • Leave a Comment

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

Woven : Visual Environs/Notes/Kengo Kuma

Walking into Emergent Landscapes : Covehithe Beach
The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane
“ Walking was a means of personal myth-making, but it also shaped his everyday longings:
 Edward Thomas not only thought on paths and of them, but also with them.”
“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”
DSC_0205 Archipelagic/Light Drawing
‘Ma’ The space,expanse and distance between objects/events and time that can create ‘boundararies for nothingness/energy’
Walberswick : Woven Paths/Digital Pinhole. 2016
Gridshell Building, Singleton, West Sussex
Weald and Downland Open Air Museum
Making ; Tim Ingold
Anthropology, Archaeology , Art and Architecture.
Knowing is ‘understanding in practice’ made from lines of active engagement with the material world.
Wayfaring : Emergent Landscapes

Source: Woven : Visual Environs/Notes/Kengo Kuma

Caruso St John : The Phenomenology of Construction

•February 14, 2018 • Leave a Comment

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

Caruso St John : The Phenomenology of Construction


Caruso St John : The Phenomenology of Construction

At the end of the twentieth century, with late capitalism more widely accepted as the economic model than ever before, the ideology of newness has become transparently associated with the workings of the market. Recent interest in airports, shopping malls and infrastructure emerges from an idea that it is these places where the processes of the contemporary economy are most brutally apparent. For architects to engage in these programmes is for architecture to become a commodified product and to be subject to the tyranny of the new.
Adam Caruso, The Tyranny of the New.
History is the raw material of architecture.
Aldo Rossi
Originality does not consist in making up new words that do not have the fine character of experience, but in using existing words well. They can be sufficient for everything.
Auguste Rodin
A radical formal strategy is one that considers and represents the existing and the known. In this way artistic production can critically engage with an existing situation and contribute to an ongoing and progressive cultural discourse.
Adam Caruso, The Tyranny of the New. Pp70-73
There is no compelling evidence as to why architecture should reject more than 400 years of working within a liberal arts context, nor is there compelling evidence that architecture is any more marginal than at other times over that period.
Adam Caruso, The Tyranny of the New.
Continuity involves the legacy of existing buildings produced by architects as well as the much larger legacy of existing, vernacular structures. In trying to connect these things, Caruso St John are part of a tradition that includes figures as diverse as Adolf Loos, Auguste Perret, Alison and Peter Smithson, Gunnar Asplund, Sigurd Lewerentz, Mies van der Rohe, Roger Diener, or Hans Kollhof. These architects have all questioned the abruptness of the radical break inherent in the formation of orthodox modern architecture.
Eric Lapierre, Caruso St John, The phenomenology of construction.
Adam Caruso on the medieval ruins of Fountains Abbey, Yorkshire.
Today the nuances of language that make up these architectures only exist as an intellectual discourse and do not operate at the emotional level that would have engaged the original inhabitants, or audiences of these buildings. And yet we are still emotionally affected by these structures. Denied access to the specific culture of their iconography. We respond, at a more visceral level, to the more general culture of their construction. When this formal language ceases to be novel, a building becomes part of a more normative condition, the condition of not ‘being new’ and its qualities increasingly emerge from the more long-standing and stable world of construction.
Adam Caruso, Towards an Ontology of Construction, KnittingWeaving Pressing 2002
By ceasing to be new, a building attains a more ‘normal’ condition, it becomes finally more banal, from a viewpoint that has much in common with Perret’s famous aphorism on ‘a work that would seem to have always existed’.
THE QUESTION OF RUINS or the differences between the architectural ideologies of Auguste Perret and Caruso St John.
Beautiful architecture makes beautiful ruins, affirms Perret, since in ruins, only the structure remains visible.
When Adam Caruso observes the ruins of Fountains Abbey, he is concerned with physical matter.
The ruined state of the buildings serves to exaggerate the presence of material. The feeling is that of an enormous weight drawn out of the ground into the volume of the valley and held in place by a matrix of structure whose schema is described by the pattern of stone joints.
Adam Caruso, Towards an Ontology of Construction, KnittingWeaving Pressing 2002
The essential change in perspective between Perret and Caruso St John is that of a construction as structure to a construction that is the application of matter. Perret observes the organic dimension of buildings from a distance that makes the structural framework’s overall logic intelligible.
Caruso regards buildings much more closely, at a distance/closeness that enables him to grasp their tactile dimension: he looks at them with his hands. In Fountains Abbey, it is the brickwork joints that are essential; on the rear façade of his Van Nelle factory building, it is the micro-topography of the façade.
Luis Moreno Mansilla remarks that buildings by Sigurd Lewerentz, one of Caruso St John’s main inspirations, can only be seen close up.
For Caruso St John, construction does not refer to a constructional technique, nor to the coherence of its application as a technique, but rather the presence of the built object through the manner in which it is built.
Interestingly Perret’s positivist and absolute approach belongs to a mindset that excludes all form of doubt or ambiguity. To this approach, Caruso St John propose a phenomenological approach in which construction frees itself from pure technological logic to find meaning, both inherent and more relativist, in the field of architecture itself.
SURFACES, Juxtaposed without articulation.
QUESTIONING STRUCTURAL LOGIC, by playfully obscuring it.
The depth of the exposed beams in the exhibition areas is not proportional to their respective spans, but to the overall heights of the rooms in question. Walls with claddings of vertical timber boards alternate with bare concrete walls that seem to have been cast in shuttering identical to the timber cladding. These two surfaces are sometimes juxtaposed, without articulation, and question structural logic by obscuring it, thereby increasing the building’s phenomenological and perspective complexity.
New Art Gallery, Walsall. Caruso St John
The load bearing walls appear to be folded along the complex contours of the non-orthogonal site. At the corners, bricks are cut and bonded together with resin to adapt to the geometry, while maintaining the size of standard bricks. Although they are load bearing, these walls become surfaces that have tactile and phenomenological qualities as well as being constructed surfaces with real architectonic weight.
The Brick House, London, Caruso St John
CLADDINGS and their ability/capacity to create ATMOSPHERES
The artist, the real architect, has firstly the feeling of the effect that he wants to produce, and then he imagines the spaces that he has to create. The effect that he wants to create on the beholder, will come from the material and its form.
Adolf Loos
It is through the splendour of truth that the building attains beauty. The truth is in everything that has the honour and task to carry or to protect. He who hides a pole makes a mistake. He who makes a false pole makes a crime.
Auguste Perret
The originality of Caruso St John’s work lies the fact that this atmosphere is created by claddings that have a strong architectonic character. As opposed to Loos, they use paint very rarely, and prefer to use construction materials in the traditional sense of the term: brick, concrete and wood. They do so in order to continue to create architecture, not as a spectacle, but by merging two traditions –that of Perret’s structural rationalism and that of Loos’s claddings –to define an architecture that speaks to us of the contemporary world in a truly critical manner.
Eric Lapierre, Caruso St John, The phenomenology of construction.

Architecture, Nature and Subjectivity.
Atmospheric ecologies/architecting through situated learning.
THREE STAGE METHODOLOGY (Kikutake) Mitsuo Taketani
Characteristics of an architect

Source: Caruso St John : The Phenomenology of Construction

Hortus Conclusus : A Serious Place

•February 14, 2018 • Leave a Comment

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

Source: Hortus Conclusus : A Serious Place


Hortus Conclusus : A Serious Place

Hortus Conclusus : Enclosed Garden
Often translated as meaning “a serious place”
To construct a contemplative room, a garden within a garden.
Pavilion as both a monumental physical structure and as a site of emotional encounter.

With a refined selection of materials he has created a contemplative space that evokes the spiritual dimension of our physical environment, in so doing he is successfully emphasising the role the senses and emotions play in our experience of architecture. (Zumthor 2011: 15)
Enclosed all round and open to the sky.
A garden in an architectural setting.
“ Sheltered places of great intimacy where I want to stay for a long time.” (Zumthor 2011: 15)
Every plant name listed here evokes a distinct image; with each of them I associate specific lighting, smells and sounds, many kinds of rest, and a deep awareness of the earth and its flora.
A garden is the most intimate landscape ensemble I know of. In it we cultivate the plants we need. A garden requires care and protection. And so we encircle it, we defend it and fend for it. We give it shelter. The garden turns into a place.
There is something else that strikes me in this image of a garden fenced off within the larger landscape around it: something small has found sanctuary within something big.
(Zumthor 2011: 15)
Illustration of “Orchard” from Bible of Wenceslaus IV,Vienna, Austrian National Library
Depicts in the manner of an illuminated manuscript, the husbandry and community of the medieval workforce in the secure and sheltered space of a walled garden. This pastoral craft/gathering is evocative of Zumthor’s Hortus Concluses.
Working with ones hands, with the earth in sheltered spaces of a pastoral community.
Zumthor underscores this pastoral setting when he places a pavilion at the centre of the garden; he talks of future meeting there, of looking forward “to the natural energy and beauty of the tableau vivant of grasses, flowers and shrubs. I am looking forward to the colours and shapes, the smell of the soil, the movement of the leaves.” (Zumthor 2011: 15)
The Vintner’s Luck, Elizabeth Knox.
Tasting the soil in the wine, the soil and the wine are of the same substance, from the same locality; they are bonded together by the landscape.
Gardens Are Like Wells: Alexander Kluge
Inside every person (however serious or playful) lies an “enclosed garden”
Monasteries in medieval Europe were wells in which the clear waters of antiquity mingled with the dark waters of faith. At the centre of these monasteries was a garden, the most important part of which was enclosed. It was here that the most beautiful plants and medicinal herbs were concentrated. (Kluge 2011: 19)
Interestingly Kluge notes that these gardens were not everyday places, they were “timeless” because they were not subject to the general daily rituals of monastic life. These gardens were dedicated to the Blessed Virgin, but exposed perhaps to other texts, Homer, Ovid or the Gnostics. This relationship of literature finding a place of contemplation in the enclosed garden speaks perhaps of an “innerness”, an ability to unite mind and eye in the confusing realities of our age.
Civilisation and societies need ground that is uncultivated, gaps that are not subject to the principle of unity, something that is sufficient unto itself, which we do not consume: a sacrifice. Cities need spaces of piety. (Kluge 2011: 21)
“We need places in which we can engage in acts of mourning” Richard Sennett
Gardens of Information: DCPT (Development Company for Television Programmes)
Using the emblem of the Hortus Conclusus/The Enclosed Garden to stand for the relationship between the barren wastes on the one hand, and the happy isle on the other.
“To rescue facts from human indifference”
“To make gardens out of raw material and the bare bones of information.”
“A precursor of individualism, but has unmistakable traits in a way individualism never can.” (Kluge 2011: 21)
Spatial Practices for the Next Millennium.
Forming relationships not through superstructures, concepts or societies, but through inclusive structures/practices and localities. The Hortus Conclusus could stand for this type of concentration of identity (an inquiry, a person and a practice) within an intimate setting or situation.

•February 14, 2018 • Leave a Comment

Drawing Rooms : Cyanotypes/Collages/Photography

•February 7, 2018 • Leave a Comment

Drawing Rooms : Cyanotypes/Collages/Photography

Slow Philosophy. 2017
Reading against the institution
Michelle Boulous Walker

Saturnian Form : Lead and Library Dates
Russell Moreton

Emilio Prini
The filter and welcome to the angel, 1967
Environment with participants, doves, artificial green grass, socks, ultra-violet light.
Dimensions variable,
Installation, Studio Bentivoglio, Bologna.

Artist-run exhibition space

Emilio Prini well illustrates the spirit of Arte Povera: the artist is not the creator of artefacts, nor even of a documented ‘happening’. In the transferral of energy and subjectivity into matter or an event, the work exists in the instant it comes into being and is simultaneously received.

To document his work in photographs and present these as a record of it contradicts the very basis of Prini’s art.
Arte Povera, Themes and Movements
Carolyn Christov-Bakargiev

Intermedia Chart
Dick Higgins
Molvena, Italy. 1993


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

Source: Drawing Rooms : Cyanotypes/Collages/Photography

Cyanotype Drawings : Works on paper

•February 5, 2018 • Leave a Comment

Cyanotype Drawings : Works on paper

Terrestrial Movements :  #2  Solar Spore.

Drawing and Assemblage : Cyanotype process on watercolour paper with lead profiles.

Aerial Composition (movements inside the Cathedral) : Cyanotype and Sunlight.

P3228227a : Engineering Blueprint on Watercolour Paper.


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

Source: Cyanotype Drawings : Works on paper

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