Contemplating the Void

‘The Spectator makes the picture’ Marcell Duchamp  

Developing  the void, anamorphic projection and deciding on the vantage point and how to design it; I thought about the meeting I had in NYC  with Todd Rouhe and we discussed one of their project which they borrowed/ designed a ring inspired by  Aldo Van Eyck flat’s furniture ( a ring becomes bench).  So I thought that perhaps my vantage point takes that form too, using the ring as a point, so that it directs the viewer to the projection in the centre of the pedestrian avenue.

Also, I can start to create references to the work of semester one- as footnotes on each postcard or on the reverse. Below are some images and precedents, as I start to develop the post cards too.

Also, a very interesting read on the ‘void’ found here:  http://www.failedarchitecture.com/the-poetry-of-decay/

I though it related nicely to Adam’s imagination of the Void  and my theory of preservation.

The voids provide space for the observer to interpret them as she or he likes, to fill them with imaginations and meanings…..

Gordon Matta-Clark, who did not just use the void as a building block in his works of art, he created voids himself as an act of preservation. He physically cut buildings that were about to be demolished. By creating the void, Matta-Clark charged the structure with a certain tension, leaving an impression in the mind of the observer and by doing so, preserving the building.’

 

Below are some images and precedents, as I start to develop the postcards.

 

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I can now start the TS for this intervention, which Colin has advised on, and also design the Towers for next week.

 

 

 

One thought on “Contemplating the Void

  1. I like the quote by Duchamp and how site 2 is developing but will the bench be placed in the void to mark where to view the convergence of the anamorphic projection? or is it also on the traffic island? In the plan it seems that it is placed in the void so Im curious as to whether this changes the space from a void to something inhabited? This relates to the interesting text you posted about the void and how it can be preserved. As a counterpoint to how Matta-Clark intervened in buildings scheduled for demolition by carving out voids, how are you inserting this bench into a void to preserve it? Perhaps a key drawing showing how the bench completes the installation on the island, as well as drawing of the fragmented and uncanny misaligned views that we encounter before discovering the aligned viewpoint? I liked your description of the eccentric observer and it would be nice to draw their fragmented route of discovery.
    I like the variety of references that have shaped the design of Site 2 and its important that this doesn’t get lost in the pilgrimage or in the portfolio – I like the postcards as a way to construct the ideological context of the project but I also liked your suggestion to include the suggested site for Adam’s Garden as a stop on the pilgrimage so perhaps that needs to be drawn as well in terms of what it is today vs. what it might have been.
    To then take site 2 a step further in terms of continuing our discussion from Tuesday about the pilgrimage route – is it after you sit on the bench that you then walk through the curves and climb the staircases hidden within? What do you see from there? How does it propel you forward? Do we see the original site for Adam’s Garden from atop the stairs which leads us in that direction?
    Also in thinking about the void, you could use your casting methodology to interrogate it further – similar to the framed set of cast miniatures you created for site 1, what do you create as a souvenir/ takeaway for site 2? The casting process makes use of negatives (the mould) to create positives (the cast) – how do you manifest or miniaturise the void to become collectible?
    The reason I think you’re on to something with the miniaturisation is because suddenly it makes the uncollectible, tangible and therefore collectible. It would bring the project to a more dramatic conclusion to show how suddenly the voids, views, slices, pilgrimages within the city can suddenly be understood as tangible entities worth preserving.
    It would be nice to start to develop site 3 in a similar way for Thursday, thinking about the vantage point from which you would approach it, experience it and descend from it, how you draw that experience and how do you make it collectible?
    Finally, to go a step further than just preserving the void, to creating the void: you might find this competition interesting by Storefront for Art and Architecture – it looks at Taking Buildings Down or the construction of voids within cities: http://storefrontnews.org/programming/winners-taking-buildings-down-competition/

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