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)
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)
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.