The ‘Un-‘Pause After Christmas

I’ve been working my way through my (massive) list of drawings throughout Christmas and January, and although I haven’t reached the end as I keep adding things to it, it’s not far off. I’ve been reading and writing quite a bit during the break, which is in rough draft at the moment, but will replace all current text on the magazine.

The Physical Edition (a few bits to add in and re-do – text to be completely changed)

15-11-04 RSPause001 A Cover

15-11-04 RSPause001 A low res 001

The Journey Edition (particularly the black/white/yellow drawings need re-working as I need to refine why I drew them in the first place – text to be completely changed as most is infill)

15-12-15 RSPause002GCT 003 Cover

15-12-15 RSPause002GCT 003 Low res

 

Giving a proper dialogue to my scheme has formed this introduction so far:

  • “The museum is particularly well suited to serve as an experimental sociological model, since it is, on the one hand, a place where individuals develop an awareness of self and society, a feeling of togetherness, while on the other it exerts a three-dimensional effect within a verifiable and limited framework.”(Lehmbruck, 2001)
  • “The architecture of our time is turning into the retinal art of the eye. Architecture at large has become an at of the printed image fixed by the hurried eye of the camera. The gaze itself tends to flatten into a picture and lose its plasticity; instead of experiencing our being in the world, we behold it from outside as spectators of images projected on the surface of the retina.” (Pallasmaa, 2006)

The museum is not something you observe. It is something you experience. The project aims to demand the inhabitant experiences an altered relationship with their reality and surroundings – redefining the ebb and flow, forcing presence, consciousness and pause.

 

I’m continuing this on to speak about how the pause is fully central to this, just untangling the words in my brain! It’s been helpful to start mapping it out this way. This is part of the editorial for the Physical Edition to begin explaining my experiments with the materials and embedding:

In this image based architectural world – where the user is strictly directed in the role of passive inhabitant – it is unsurprising that, in conjunction with our digital society, we have moved away from appealing to all of the senses, except for sight. The sensual complexity of experience cannot materialise without reaching for the seven senses.

The use of natural materials is proven to ensure depth to our consciousness as “the patina of wear adds the enriching experience of time; matter exists in the continuum of time” (Pallasmaa, 2006), but futuristic, 3D printed form is the antithesis to this. Through expression of material, embedded narratives could serve to challenge what we perceive as the future.

 

I have my next step in the project in mind – a smoke instillation within the terminal. This will consist of various densities and heights of smoke, acting as the catalyst for forcing people to slow down. By encouraging the air of paranoia and playing on the senses will force people to experience pauses of different intensities and lengths, ie. not being able to see their feet vs. not being able to see a meter in front of their face. (Not using water based smoke systems that can degrade the station and sit on top of the marble, and using an oxygen based system to not cause suffocation!). Drawing this will be the beginning of the third edition of the magazine ‘The Forced Edition”. The museum as experience is the main focus – turning the people into the exhibit whilst they live it. Starting with a historical element of the station (smoke) and tackling the obvious sense of ‘sight’ may be the easy bit.

By the crit I am to have these two magazines finished and to have started my work on the smoke.

I would (of course) like a tutorial next week please.

One thought on “The ‘Un-‘Pause After Christmas

  1. Good to be working through the drawings that are needed, we will look forward to seeing them. Regarding the line drawings of the change in the embedded blocks – these are suggestive but it would be useful to know what the vertical variation of the line represents, if the horizontal line is time. From the experiments I guess that you can predict relative timelines for deterioration/change so could these drawings vary the horizontal in the projected pause of the block while the embedded material undergoes change? I liked what you talked about last term, the mega pause. Furthering the drawn investigation of your material experiments will open up capacity to visualize these mega pauses.

    This leads into a potential of what you say about the museum developing the sense of self and society. Your work on pauses suggests a situation or series of conditions that also aid a development of a sense of self, in relation to time passing. What you quote Pallasmaa as saying about materials that patinate ensuring ‘depth to consciousness’ could be understood as a kind of empathy – we are aware of our own timelines because we can understand longevity or change in external things. In developing your smoke intervention think about the pauses that you want it to create, what reflection can it provoke that is in line with the many time lines of use in the station, and of the station itself and its materiality. Does it direct you to reflect on these or on the other intangible activities that pause the activity of the station? So many years to clean a ceiling, so many years to stain it via snippets of smoking, the potential of the some of the station’s materials to far outlast others – as you begin to describe through your experiments – do the duration of all of these pauses have a relationship to the pauses that you are inflicting?

    These questions are not to make you question the development of your brief, keep going. But be careful not to fix an idea now and then work backwards to deliver it. Now is the time to start to provoke how this brief can evolve.

Leave a Reply