Zhipeng Han_CLOSE STUDIO_Archive_AUDProject

CLOSE STUDIO

Proximity Theatre

HAN ZHIPENG's CLOSE

HAN

Imagine that the moment you open this archive, you have stepped into the festive atmosphere of Edinburgh's Proximity Theatre. Four new CLOSES will be presented in front of your eyes.

This archive presents a series of conceptual and methodological approaches to guide the process of constructing subjectivities by means of design. Through the study of urbanism, a series of arguments such as Proximity, Synecdoche and others are presented to collectively guide the iteration of design research.

The immersion of human beings in nature leads us to choose the Immersive theater as the main body of the design, through the research of narrative architecture, copper tectonic, film, configured urbanism and a series of methods to jointly form a methodology to promote architecture and urban design. And the iterative process emerges at different scales to form different ecologies of proximity, which together form archipelago and the ecological value system within it as the Space of Appearing in the city of Edinburgh, and creating Ecological Urbanism in the city.

INTRODUCTION

[Proximity Paradigm]

INDEX SYSTEM

Chapter1: [Proximity Paradigm] on the stage

[Immerse] [Proximity Theatre]

[The New Caledonian Forest]on the stage [COPPER Tectonic]

Chapter2: The [Proximity Gesture] of Closes [Configured Urbanism]

The Proximity Gesture of Closes The Language of shadow Film is more real

[Boundry Condition] "Casting Seeds"

Chapter3: The Notation of [Theatre Life] [Ecological Urbanism] - Network of Agency

Performative Urbanism - Closes

Chapter4: [Synecdoche, Edinburgh]

[Proximity Theatre] in Studio

[Absolute Urbanism] Archipelago of Proximity Theatre

Layes of Proximity in Close

Chapter5: [Festival of Edinburgh] New Visualization Festival Urbanism

[The New Caledonian Forest] - TLML

Chapter6: [Proximity in Studio]

Synecdoche, Edinburgh's Exhibition & Archive

Magritte's "La Trahison des Images" ("The Treachery of Images") (1928-9) or "Ceci n'est pas une pipe" ("This is not a pipe"). The work is now owned by and exhibited at LACMA. 0-1 — LACMA, The Treachery of Images (This Is Not a Pipe) (La Trahison Des Images [Ceci N’est Pas Une Pipe]), n.d., n.d.

De - Subjectification - hyperreal - Simulacra

INTRODUCTION

1. IWC is delocalized and deterritorialized to such an extent that it is impossible to locate the source of its power. Félix Guattari, The Three Ecologies, trans. Ian Pindar and Paul Sutton (London: The Athlone Press, 2000), 6.

2. Giorgio Agamben, What Is an Apparatus? : And Other Essays (Stanford: Stanford University Press, 2009), 13. 3. ibid., 14.

4. Jean Baudrillard, Simulacra and Simulation (Ann Arbor: The University of Michigan Press, 1994), 3–4.

5. LACMA, The Treachery of Images (This Is Not a Pipe) (La Trahison Des Images [Ceci N’est Pas Une Pipe]), n.d., n.d. 6. Baudrillard, Simulacra and Simulation, 55. 7. ibid., 84.

8. Agamben, What Is an Apparatus? : And Other Essays 14. 9. ibid., 22.

Since the relatively peaceful economic development after the Cold War and the rapid globalization of the world, the territories of countries and cities have been gradually opened up. The speed of interpenetration of information, ideas and cultures has been accelerated by the breaking down barriers to the transmission of information through Internet technology. This can all be described as "Integrated World Capitalism" 1(IWC).

If one understands the Internet and information technology as a tool used by humans, Agamben divides this process into two parts: "the creatures and the Apparatus that captures them"2 Apparatus is not just used by humans, it is itself able to influence its users and the content of its output. It has even been described as a measure designed to control human behaviour and thought.

Today, technological developments have led to mankind being gradually dominated by apparatus. "There is not a moment when an individual's life is not shaped, contaminated or controlled by some kind of apparatus". 3 Baudrillard calls this the " hyperreal " - a representation so realistic that It cannot be distinguished as a representation, but is treated as reality.4 The hyperreal makes it possible to begin to ignore much of the real presence in the city. As Magritte's "La Trahison des Images"5 ("The Treachery of Images") warns, the pipe in the image is not real, it is merely a symbol. It is from this image that we can understand 'the meaning and signification'6 of the real message itself, which is directly destroys by the media that society as a whole has produced as a result of the proliferation of information.

Today's virtualized world has almost reached the third order of the simulacra proposed by Baudrillard: Simulation (based on information, the model, cybernetic play, aims to total control).7 The communication between human individuals and the assemblage has become part of the symbolism of the model. "This makes ' the subject ', which emerges from the 'relentless struggle between creature and apparatus', symbolic."8 It is becoming more and more distant from the original living being, the human being, whose individual and collective mode of functioning is deteriorating. The society undergoing this process is known as desubjectify's ' inert bodies ' - thus eclipsing the politics that 'used to be predicated on the existence of a Subject and a real identity'.9

The city, as the geographically central point of human civilization, is gradually abandoning the idea that 'humans are part of nature'. The process of urbanization is also becoming manipulated by global economic activity. We consider how proximity paradigm and ecophilosophy are a revolt against today's controlled society.

Paradigm]

“This is a green world, with animals comparatively few and small, and all dependent on the leaves. By leaves we live. Some people have strange ideas that they live by money. They think energy is generated by the circulation of coins. Whereas the world is mainly a vast leaf colony, growing on and forming a leafy soil, not a mere mineral mass: and we live not by the jingling of our coins, but by the fullness of our harvests.” 1

The economic and ecological crisis facing humanity requires us to creatively reconcile what has become disconnected and opposed: between the different subjects in society, between humans and nature. Ecology is not only about human civilization as a whole, but also about the places where people live. The history, culture, and values of "place" are at the heart of Geddes's theory of cultural ecology, where people should be rooted in their particular area and develop respect for collective cultural values from the local community. 'Think Global; Act Local.'2 Based on the local indigenous culture. This is what is essential for a sustainable global vision of human development. The process of design practice in terms of exploring Urbanism is a bottom-up/inside-out construction of a new ecological practice in Edinburgh.

The first thing that can be made clear is that Agamben believes that we have to overturn the desubjectify process formed by the present Apparatus. 'A Dissident vector is needed to activate the isolated and repressed singularity in the face of a society in which capitalism is in full penetration.'3 This is the same concern that Guattari has for human society.

Robert Kirkwood's ' Fac Simile of Gordon of Rothiemay's Bird's-Eye View of Edinburgh ' 4 confirms that in the 17th century the Old Town of Edinburgh formed a series of Closes within the city's crevices. This Gap between the high density of buildings in the city produces a complex interpenetration of spaces. The inter-subjective relationships that emerge from these narrow spaces enclosed by houses, hotels, bars, offices, schools, pavilions, etc. suggest the heterogeneity of the city within them. This proximity is also present in the human senses: the strange odors created by the many smoke vents, the sound of water flowing through the gutters, the touch of old stone walls and moss, and even the oppressiveness of dangerously dark corners.

The synthesis of human life in the community is a key element of socio-ecological sustainability. 20 years after 1880 Geddes and his wife Anna settled in James Court to improve the community of the Old Town and he initiated social experiments to encourage people from different backgrounds and professions to settle in the Old Town to create a mixed and vibrant community.5 Today we are also beginning to think about the future of the Closes in the historical era of desubjectify and economic globalization. The proximity of different properties of space in the Closes creates a unique conflict. Proximity in the closes becomes a dissident vector formed from the local and is the beginning of subjectification and singularization in the city of Edinburgh. Then [Proximity] needs to be redefined: the spatial, temporal, and social proximity between different subjects (which can be beings or material beings of some kind) that emerges as a physical or ideological form of existence.

The Three Ecologies proposed by Guattari are from the local to the whole. The relationship between the three can be seen visually in the process of quantitative to qualitative change. This change goes to the bottom of the logic of human society, changing all areas of society by emerging from the bottom up. 'The reappropriation of value systems through a new ecology'6. This can be considered as a form of |Ecological Urbanism|.

Subjectification

- Dissident Vector

- Think Global; Act Local

1. Patrick Geddes, Cities in Evolution, NEW AND REVISED

EDITION (London: Williams & Norgate, 1949), 216–17.

2. ibid., 397.

3. Félix Guattari, The Three Ecologies, trans. Ian Pindar and Paul Sutton (London: The Athlone Press, 2000), 45.

4.Robert Kirkwood, Fac Simile of Gordon of Rothiemay’s Bird’s-Eye View of Edinburgh, 1817.

5. National Library of Scotland. “Patrick Geddes,” n.d. https:// www.nls.uk/learning-zone/politics-and-society/patrickgeddes/.

6. Félix Guattari, The Three Ecologies, trans. Ian Pindar and Paul Sutton (London: The Athlone Press, 2000), 68-69.

0-3, Robert Kirkwood, Fac Simile of Gordon of Rothiemay’s Bird’s-Eye View of Edinburgh, 1817.

0-2 — Proximity in close, CLOSE Studio, 2022.

[Proximity Paradigm] Intersubjectivity

Proximity Atmosphere

Similarly, the construction of a complete urban ecology practice in Edinburgh - The New Caledonian Forest - requires a series of iterative processes at different scales. Using Closes' Proximity as a point of intervention, we aim to emerge Proximity in the urban gap as Immersive Theatre - Proximity Theatre , an iterative process at different scales and temporal stages that can be understood as a process of ecosystem development and functioning, but also as resistance to desubjectification

|Configured Urbanism|1 begins by deconstructing and exploring heterogeneity-proximity2 as a subject in closes, developing a series of methodologies in the initial reconfiguration of the entity of proximity.

|Performative Urbanism|3reconceptualizes urban space as a performance space, 'where performance is redefined as the whole process of reaching and interacting with space'.4 The first step is to build the theatre space Study in Closes on human scale (DoA). This is also the process of constructing mental ecology. These spatial subjects are interdependent, and the various parts of the theatre do not exist separately, they are in a symbiotic relationship with the closes, forming a complete and intimate ecological operating system (NoA) in this mixture. It can be understood as a kind of Intersubjectivity 5

According to | Absolute Urbanism | 6 the theatre in the Closes is used as a point of intervention to develop from a single island into the archipelago of Edinburgh. Instead, Edinburgh is allowed to be dominated by a top-down urbanization process.'This corresponds to the relationship between different human group subjects in social ecology.' 7

At the TLML scale, humans, the city, and nature work together to achieve an ecological balance of hybrids. Shaping Edinburgh's Proximity Atmosphere(TLML) at an urban scale|Festival Urbanism|: These theatres constitute a new system that not only transforms the spatial experience in the Closes, but also emerges to form Edinburgh's proximity - Festival. This is also The New Caledonian Forest (NV) in Edinburgh.

1. Stanley Allen and G. B. Piranesi, “Piranesi’s ‘Campo Marzio’: An Experimental Design,” Assemblage 10, no. 10 (December 1989): 70, https://doi.org/10.2307/3171144.

2. Félix Guattari, The Three Ecologies, trans. Ian Pindar and Paul Sutton (London: The Athlone Press, 2000), 69.

3. Sophie Wolfrum and Nikolai, Performative Urbanism : Generating and Designing Urban Space (Berlin: Jovis, 2015).

4. Daniela Lucchese, “Performative Urbanism | Book Review,” Urban Design Group, March 24, 2020, https://www.udg.org. uk/publications/book/performative-urbanism.

5. Intersubjectivity has been used in social science to refer to agreement. There is intersubjectivity between people if they agree on a given set of meanings or share the same perception of a situation.

6. Pier Vittorio Aureli, The Possibility of an Absolute Architecture (Cambridge: Mit Press, 2011).

7. Félix Guattari, The Three Ecologies, trans. Ian Pindar and Paul Sutton (London: The Athlone Press, 2000), 40-42.

8. Ibid., 58.

If The Three Ecologies are understood as different scales, then stage (performance)theatre - festival can be equated with mental-social-environment respectively. 'At the same time, the development of the different scales is necessarily transversal, in the sense that they intersect in their physical form, being both subordinate to each other and having separate parts.'8 And it is not just an architectural entity, but also a system of urban functioning, a natural contract established within human society. To sum up, the Proximity Atmosphere , which is shaped by the hybrid of urbanism and Proximity Theatre in Edinburgh at different scales, can be called [Proximity Paradigm]. It is also a response to the new social and aesthetic practices desired by Guattari. Although this is the construction of a new system for the city, it is only one part of the Proximity Paradigm for the overall urban complexity of Edinburgh, which cannot even be described as a system, but rather as a process of exploring a new order in the closes.

The irony is that methodologies that aim to break the structural nature of the original system of urban processes end up trying to construct new systems to replace it. Of course, the constant iteration of the system may become a cycle: there will always be points of intervention in the city that break the existing urbanization process, and the balance between the controllable and the uncontrollable may be the new normal of urban development. It is, of course, impossible to completely deny the value of a de-subjectified society. At the same time, there is no real complete subjectivation, nor is it possible to ignore simulacra and enter the so-called real world completely.

SYSTEM]

Similar to the archive construction process: 'builder-medium-archive', Agamben proposes: 'life-capture apparatus-content expression'. 1 And from the 'medium' in the archive is derived the apparatus.

The archive as a content carrier is part of the materialized expression of the new ecological practice. The focus on the construction of the archive's 'medium' is the same as that of the design itself: The subjectification is reconstructed in the closes and the new order is established therein.

The diversity of the archive highlighted in 'Synonyms of Drawing' 2, as well as the complex mix of subjects in the city of Edinburgh, requires an order system as a medium to build Edinburgh's proximity, as well as to build the design. proximity, but also the design project itself.

[Proximity Paradigm]

- Subjectification - Materialization - Desubjectification-symbolic

- Dissident vector - a point of intervention - singularity - resubjectification

Theatre]

Urbanism|

Proximity Atmosphere

- Immerse - Immersive Theatre

- The Scripted Space

- Theatre space frame

1. Giorgio Agamben, What Is an Apparatus? : And Other Essays (Stanford: Stanford University Press, 2009), 13.

2. Wiszniewski, D., Perspectival Shining, in Gasperino M., and Melis A., Shining Dark Territories, 100 Thoughts On Architecture(Pisa: Edizioni ETS, 2014) pp. 2538.

|Configured Urbanism|

of Closes

The language of shadow

- Film is more real Boundary Condition

0-4, Wiszniewski, D., Perspectival Shining, in Gasperino M., and Melis A., Shining Dark Territories, 100 Thoughts On Architecture(Pisa: Edizioni ETS, 2014) pp. 25-38.

Notation of Theatre Life|

- Casting and Materiel study - Casting Seeds - Network of Agency

Caledonian Forest]

- On the Stage/Building/TLML

- COPPER Tectonic - Symbiosis

Urbanism|

[Synecdoche, Edinburgh] - Meta-theatre Archipelago

[Proximity Paradigm] on the stage

[Immerse]

[Proximity Theatre]

[The New Caledonian Forest]on the stage [COPPER Tectonic]

Both Coccia and Geddes emphasise the importance of the leaves to the world, that the survival of humans, animals and the world as a whole depends on the atmosphere created by the leaves, that plants create the world's natural environment and that the atmosphere shapes humans and all other life. Not only plants, but all living things create the atmosphere and live in the atmosphere created by other beings. 'So this mixture of subjects is completely immersed in the atmosphere.'1 This interrelationship of being, in which one subject or organism helps to determine another creature or subject, the world becomes of a fluid nature.

Immerse can be reinterpreted as creating the atmosphere, living in it (depending on it for survival), and generating more life through it. To be in the world necessarily means to make world:" every activity of living beings is an act of design upon the living flesh of the world."2 This symbiosis of subjects creates an atmosphere that also means that "Everything is in Everything."3 In other words, the construction of an urban environment in which the subject mixture is immersed in the atmosphere is the basis for the formation of a new life by proximity.

Immersive theatre is a unique form of theatre that immerses the audience in the performance itself by removing the stage. Instead of being confined to a specific space, the performance allows the audience to talk to the actors and interact with the surroundings, thus breaking the fourth wall. The theater is conveying the experience of storytelling in the physical sense of three dimensions, where he expresses the physical and spiritual worlds together in the performance space. This is in contrast to the simulacra expressed only by images, sounds, and words, where people can immerse themselves in the atmosphere formed by the performance through real senses of touch, taste, and smell. The human being can truly penetrate the proximity of the environment.

Even performance spaces can break through the so-called architectural constraints of space; | Performative Urbanism | shifts the perspective from the city as a whole to the street. Performance no longer appears only on the stage. 'By simply walking or strolling down the street, a person becomes part of a theatrical or other event. This shift makes us interested not just in iconic buildings, but in a quality public space'.4

Immerse - Immerse Theatre

|Performative Urbanism|

1-2, Theatrical performances in Advocate's closes. FOREVER EDINBURGH, “Edinburgh’s Dark Side - the Story Never Ends,” www.youtube.com, January 10, 2022, https://www.youtube.com/watch?v=1W_2lfSBhNA.

1. Emanuele Coccia and Dylan J Montanari, The Life of Plants

: A Metaphysics of Mixture (Cambridge, Uk ; Medford, Ma: Polity Press, 2019), 32–40.

2. ibid., 40-50.

3. ibid., 59.

4. Daniela Lucchese, “Performative Urbanism | Book Review,” Urban Design Group, March 24, 2020, https://www.udg.org. uk/publications/book/performative-urbanism.

1-3, Theatre director designs the stage in an architect's way. American Theatre Wing, “Working in the Theatre: Immersive Theatre,” www.youtube.com, April 29, 2014, https://www.youtube.com/watch?v=_C5i6vy3Lyw&t=966s.

[Proximity Theatre]

The Scripted Space - Methodology

[Proximity Theatre]

Of course, proximity itself has always been in the urban space and in the history of the city, and Closes itself is a unique public space in the city in which one can naturally feel the performance of the city. When one enters the Closes, one has already entered the Proximity Atmosphere(BODY) 1 - a kind of natural Immersive Theatre.This is why Proximity Theatre, with its theme of proximity and the narrow streets of the Closes as the performance space, becomes a singular point of interpenetration between subjects and breaks the existing fragmented relationship between subjects in the city.

At the same time, the theatre's dramaturgical expression of culture, history, and life in the closes is a way of fostering respect for Edinburgh's old town - the 'place'. This is the growth phase of 'Think Global; Act Local. 2 of being immersed in the local cultural ecology. The city in this argument is not just a simple space dominated by the IWC. The urban performance space has a degree of unpredictability, complexity, and ambivalence in the way people perceive and use space, and is capable of transformation and adaptation. The process of performance can be redefined in this view: 'it is not just a one-way output in the traditional sense but is about the process of people getting there and using it.'3 This is where personal perception, subjective tendencies, and spatial guidance play a key role.

The Scripted Space

Like the theater director who sets the stage, the content of the script is expressed through the narrative of the performance. proximity in Close becomes the "script" that guides the design of the theater, and I call the methodology of its expression and materialization into space

1. The environment shaped by the urban subject based on proximity formation exists in different Atmospheres at different scales, which are nested with each other.

2. Patrick Geddes, Cities in Evolution, NEW AND REVISED EDITION (London: Williams & Norgate, 1949), 397.

3. Daniela Lucchese, “Performative Urbanism | Book Review,” Urban Design Group, March 24, 2020, https://www.udg.org.

4. Methodology for the construction of spatial details in the theater, a metaphor for the philosophy of nature.

5. It can be understood as a narrative architectural spatial expression that leads through each scene choreography to form the details of each part of the space (DOA).

- The Scripted Space4. Through this design method, the scenes, installations, flow, and materials of the theater will make the space very "complex" and full of narrative. The process of building this complex theater space is the process of subjectifying proximity on the Body Scale. This allows people to immerse themselves in Proximity as they pass by windows, walls, steps, corners, and streets.

The inter-subjective relationship between theatre and nature is also sought in the history of closes and the natural philosophy of plants, and is iteratively shaped by the materials and interactive installations in COPPER Tectonic5 shaping the scenes.

Theater space iteration

Closes' history and scene One script

A series of theatrical scenes Theatre space frame

materials and interaction apparatus

The New Caledonian Forest 3 COPPER Tectonic 5

Script for Chapter 3 - INFINITE DOORS AND WINDOWS

steven sneaks out of a bin in the shadows, it is clear that he wants to have some fun, but why he is here, he has no recollection of it, his swaying body walks past someone's house, drunk, saying something out loud, then he goes to the door of the house and knocks on it, no one answers, the house turns off the lights.

steven walked into the shop, it was bright, large windows but the same on both sides, the front of the shop was full of hanging merchandise, the drunk kicked one over, the owner came over cursing but gave all the small souvenirs to the audience. steven, who had been sleeping against the side, was blown away by the boss shouting, rolled up the stairs, found the bar lit up, laughed and crawled to the bar despite the difficult steps in the road. The suit and tie office clerk, interrupted by the drunk's laughter, gets up from his chair and walks out the door towards the restaurant. The audience can only follow the clerk as he continues to explore, and there are sounds from above as many actors in various outfits come down the stairs, laughing together as they walk towards the restaurant, and greeting the clerk. The door to the restaurant is large and as the actors enter, someone says, "Look," and all eyes look to the centre, where the drunk on top of the wine climbs out through the "cannon's mouth" and sees the rope, which he can't be bothered to climb up.Eventually, as everyone watched, he climbed up to the church and through the door, ending the section.

[Proximity Theatre]

The Scripted Space

space frame

[Proximity Theatre]

Scripted Space

Script for Chapter1 - THE LOVE ROUTE

When the audience enters the entrance, the male master enters through the inner door, holding a hand-painted map behind the audience. At this time, the shadow and voice of the female master can be seen in the high room in front. The male host and the audience went straight ahead and found a crack in a secret door on the left. The curious man asked the audience to open the secret door together and found a dark and narrow staircase leading to the ground. The man motioned the audience to wait for him at the front corner and closed the door.

The audience came to the corner and found a door opening on the left. After a while, I heard the man's voice coming from the side, but it was very far away. After the audience turned to the right and saw a high platform, you can see the underground man at the end of the space. This space is very gray and messy. Beggars and patients live in the doorways on the left and right sides of the ramp. When they see the neatly dressed man, they reach out and ask for things and money. A man tries to take off his coat. The man hurried to the audience for help. The audience reminded him of the position of the door opening. The man quickly ran over and found a ladder, so he climbed up and met the audience.

The hasty man calmed down, picked up the map, crossed the fork just now, and then continued to move forward. A narrow tunnel was found at the corner, so they led the people to go inside. Halfway through it, they found a hole in which a beggar lay.

The beggar had no quilt and covered some picked up newspapers and magazines to keep warm. The man glanced at the magazine covered on it and found a newer version of the local map. He asked the beggar if he could tear off the top page, and the beggar agreed. The man tore it off and walked forward happily. Suddenly thinking of the cold weather, he couldn't bear the beggar to catch a cold, so he went back to the beggar through the audience behind him and gave his coat to the beggar again. The beggar thanked him repeatedly.

[Proximity Theatre]

[Proximity Theatre]

Script for Chapter2 - THE GAP OF LIGHT

When the audience enters the entrance, the male master enters through the inner door, holding a hand-painted map behind the audience. At this time, the shadow and voice of the female master can be seen in the high room in front. The male host and the audience went straight ahead and found a crack in a secret door on the left. The curious man asked the audience to open the secret door together and found a dark and narrow staircase leading to the ground. The man motioned the audience to wait for him at the front corner and closed the door.

The audience came to the corner and found a door opening on the left. After a while, I heard the man's voice coming from the side, but it was very far away. After the audience turned to the right and saw a high platform, you can see the underground man at the end of the space.

This space is very gray and messy. Beggars and patients live in the doorways on the left and right sides of the ramp. When they see the neatly dressed man, they reach out and ask for things and money.

A man tries to take off his coat. The man hurried to the audience for help. The audience reminded him of the position of the door opening. The man quickly ran over and found a ladder, so he climbed up and met the audience.

The hasty man calmed down, picked up the map, crossed the fork just now, and then continued to move forward. A narrow tunnel was found at the corner, so they led the people to go inside. Halfway through it, they found a hole in which a beggar lay.

Theatre space frame, CLOSE Studio, 2022.

Theatre space frame

[Proximity Theatre]

- The Scripted Space

- Theatre space frame

Script for Chapter4 - ROTATING CLOSES

The beggar had no quilt and covered some picked up newspapers and magazines to keep warm. The man glanced at the magazine covered on it and found a newer version of the local map. He asked the beggar if he could tear off the top page, and the beggar agreed. The man tore it off and walked forward happily. Suddenly thinking of the cold weather, he couldn't bear the beggar to catch a cold, so he went back to the beggar through the audience behind him and gave his coat to the beggar again. The beggar thanked him repeatedly. The man took the new version of the map and was very happy to find that many fork roads had disappeared. At this time, he came to a corner. The road ahead was very narrow, and the two walls were filled with water pipes and smoke extractors. Smoke swirled and water droplets spilled. This is a drunkard coming up and bumping into the man. The man didn't scold, but also reminded the audience behind him to avoid. The man confirmed the road sign on the wall and walked quickly to the front ramp. Because the ground was slippery, he had to reach out to hold the wall and kicked the flower pot under his feet from time to time. Follow the man in the audience. At the end, I found that there was only one side door with a road, so I went in with the audience. There was a staircase inside. It was very wide at first, and narrowed in the middle. Then it came out. It was a "Peach Blossom Garden", a large platform with the house number of the hostess's house written on it. The man knocked on the door, and the hostess came out to meet. They left from the side door, and the audience pushed the door from the other side to enter the next scene.

1-15 — Rotating Closes, Script, CLOSE Studio,

One script

1-17 — The Body Scale in Caledonian Forest, CLOSE Studio, 2022.

The New Caledonian Forest

[The New Caledonian Forest] on the stage

The New Caledonian Forest

Building a connection between human and natural philosophy at the human scale

- COPPER Tectonic

“The world has the consistency of an atmosphere and the leaves are witness to this fact. I will ask the roots to explain the nature of the Earth. Finally, it is the flower that will teach us what rationality is… measured as a cosmic force.” 1

The forest is a metaphor for a renewed emphasis on the need for human society to think anew about the forms of existence of natural philosophy. 'Humans should stop recognizing themselves as subjects who consume nature'.2 In detail, the forest is forever immersed in each other, interpenetrating, in a symbiotic relationship both in terms of spatial form and in terms of life connection. This is the basis for the order that emerges to form the forest on a larger scale. While humans and human creations have always fed, permeated, and shaped life on earth in the same way as plant ecology. Humans should be aware of the impact of urbanization and the social activities within it on themselves and other subjects. The process by which we construct the relationship between urban subjects from the ecological philosophy of plants is the process by which The New Caledonian Forest grows in the soil of closes.

1-18 — Study from Caledonian Forest, CLOSE Studio, 2022.

1. Emanuele Coccia and Dylan J Montanari, The Life of Plants

: A Metaphysics of Mixture (Cambridge, Uk Medford, Ma: Polity Press, 2019), 27.

2. Theodor Adorno, Aesthetic Theory, trans. Robert Hullot Kentor (Minnesota: University of Minnesota Press, 1998), 69.

Underground Actor's Corridor of The love Route, CLOSE Studio, 2022.

Entrance of The love Route, CLOSE Studio, 2022.

The New Caledonian Forest - COPPER Tectonic

[COPPER Tectonic]

Coccia and

At the BODY scale , The Leaves in the forest metaphorically represent, a symbiotic relationship between different subjects. Humans, theatres, and other urban spaces act as a mixture of subjects, immersed in the atmosphere that these subjects form together. The subjects are shaped and permeated by each other through a certain organ. The flower in the forest is considered a symbol of rationality because it is a "site of a sexual exchange with other creatures"1, coccia refers to the 'sessile' flower as being a "site of an environment for the world itself."2 The "flower" can be said to be the organ of attraction, interaction, absorption and development of different subjects.

In Proximity Theatre, the flower is redefined as. devices that interact with the audience: handles, switches, handrails, walls, and all the places where different subjects interact and permeate each other.

Gilles Clément defines the area of interpenetration between humans and nature in urban space as the 'Third Landscape' 3 In other words, it is a heterogeneous, border space between human and natural subjects. This view is consistent with the place metaphorically represented by the flowers in the theatre, 'as a field of diversity and resilience created by the third landscape that should be seen as the public space of the future'.4 That is, the theatre space itself is a public space of diversity and resilience formed between subjects.

The growth of the natural philosophy in the forest in Close implies a process of materialisation. COPPER is redefined as a metaphor for carrying nature and time (the history of the Close). The patina of the copper itself is a trace of wetness, atmosphere and time in the Close, a penetration of nature into human production (the Close). It is also a metaphor for the mutual symbiosis between subjects. This particular form can be defined in terms of the [COPPER Tectonic]: a specific theatre installation, scene, structure, shaped by the interpenetration of different subjects, governed by "reason". And it also corresponds to different metaphors on different scales.

J Montanari,

Mixture (Cambridge,

Life of

; Medford, Ma:

-

Paradigm]

stage

Caledonian Forest]

of copper

Steps

Door leading to the next scene

Props Transfer

Control roomStage

Water Systems

spray

for

- concrete

Structural Section

Close Foundations

Interactive scenes in theatre - Copper Pine wall

— Theatrical interpretation with materials, CLOSE Studio, 2022 Stage

Paradigm]

the stage

Caledonian Forest]

[Proximity Theatre]

Scripted

The New Caledonian Forest

Tectonic

Paradigm] on the stage - [The New Caledonian Forest]

— Performance in the Shadows, CLOSE Studio, 2022

The [Proximity Gesture] of Closes

[Configured Urbanism]

The Proximity Gesture of closest The Language of shadow Film is more real

[Boundry Condition] "Casting Seeds"

Methodological Iterations

Configured Urbanism

Faced then with the problems of the present age, Agamben suggests that 'Apparatus is first and foremost the machine that produces subjectify, it is also the machine that governs.'1 He also hints at its principles: '1. guidance, constraint, and command beings 2. natural existence itself consisting of purely material entities.'2 This is also a necessary condition for subjectify.

In the concept of Configured Urbanism, it is meaningless to describe the form of a city or building to build or design it. Specifically, Piranesi focuses on the value of origin and the exploration of the city's ruins, reconstructing the ruins of Rome and presenting his designs as astonishing, almost utopian reinventions. This process is a reconfiguration of the ancient Roman city, and his drawings and techniques can also be interpreted as a process of constraining and reconfiguring the architect's guidance of the city's ruins through apparatus ('Etchin'3). At the same time, it is essentially understood as a 'medium' similar to Freud's Mystic Writing Pad.It is also the process of constructing gesture.

The Proximity Gesture of closes

'It is first of all a forceful presence in language itself, one that is older and more originary than conceptual expression.' 4 As Closes, a narrow spatial form in the city and its peculiarities, and also because of its urban evolution through the centuries, can necessarily be understood in space and time as many different kinds of Gesture. 'Gesture encompasses the movement of the subject itself, as well as the reading of the movement of the body.'5 Gesture is not only the form of the building, but the movement in space and time, and the intention or meaning it conveys. For example, the Closes are described as shadowy, highdensity streets, a gesture of staggered, complex, multi-layered roofs, and the 'Fishbone' of the striped urban map base relationship, a Gesture that undertakes the movement of the population between the topographical differences between north and south.

In other words, this is not just the gesture of a single close, but should be understood as the Gesture of over 70 Closes in the Old Town: the Gesture that expresses Edinburgh's proximity (the Gesture of the city).

1. Giorgio Agamben, What Is an Apparatus? And Other Essays (Stanford: Stanford University Press, 2009), 11.

2. ibid.,6-23.

3. Sergei M. Eisenstein, Piranesi, or the Fluidity of Forms, trans. Roberta Reeder, 1977, 85.

4. Giorgio Agamben, Potentialities : Collected Essays in Philosophy, ed. Daniel Heller-Roazen (Stanford, Calif.: Stanford University Press, 1999), 77.

5. Vilém Flusser, Gesture (Minneapolis: University of Minnesota Press, 2014), 3.

|Configured Urbanism|

- The gesture of Closes

2.3, Willm Edgar, The Plan of the City and Castle of Edinburgh, 1742, National Library of Scotland.

2.2, G. B. Piranesi, frontispiece to II Campo Marzio dell'antica Roma, 1762.

2.4, Bruce Home, Drawing of Old Town, late 19th C, Civic Survey.

|Configured Urbanism|

The gesture of Closes

The language of shadow

the Language of shadow

For the configuration of the city-specific methodologies need to be investigated, specifically the discovery of particular boundary conditions in light, shadow, and film as a means of constructing configurations for the materialization of proximity.

“We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates.” 1

The unique gesture of the glass windows on the façades of the churches and new colleges in the Old Town, which carry the sunlight through the glass, creates an image of another world. The sanctity of the churches and the splendor of religious legends are projected into the human eye through these huge windows. Light and shadow are also a medium through which light can be reconstructed and a language formed by being filtered through glass and obscured by solids.

Tabernacle Universe

Film is more real

Inspired by glass window flowers, we laser engraved the texture drawings of the closes onto transparent acrylic, overlapping them in multiple layers to form a model, using light and shadow to construct the proximity gesture. In contrast to models and photographs, the film can record the performance of light and shadow in time and space, just as vampires are shaped in Nosferatu1

Light, model, and shadow become the apparatus for the construction of the image, as well as the characters and the scene (street) in the film. In other words, the process is like standing behind a glass window and thinking about the meaning of a church.

|Configured Urbanism|

- The gesture of Closes - The language of shadow - Film is more real

Methodology

The

Discovering Boundary Condition

[Boundry Condition]

The gesture of Closes - Boundry Condition

The boundary condition is diverse and complex, and the focus here is on the boundaries formed by the interpenetration of subjects in the Proximity Atmosphere. This permeation is between the different elements in the close, and between human production and nature in the allotment.

Gilles Clément defines a particular human-nature boundary, defining the " Third Landscape" as "designates the sum of the space left over by man to landscape evolution – to nature alone " 1 In other words, these neglected spaces appear on the edge of the city or also on the border between two territorial types: urban-rural, rural-industrial, etc. It is a heterogeneous, border space between human and natural subjects. In contrast to territories controlled and developed by humans, the third landscape forms a privileged area for the reception of biodiversity. This privileged area can be interpreted as a boundary shaped by the proximity of the city to nature

1. Gilles Clément, Manifeste Du Tiers Paysage (Paris: Sujet - Objet, 2004), 1–10.

2. Emanuele Coccia and Dylan J Montanari, The Life of Plants A Metaphysics of Mixture (Cambridge, Uk ; Medford, Ma: Polity Press, 2019), 87.

Coccia emphasizes that "Rationality is a matter of forms, but the form is always the result of the movement of a mixture that produces variation, change." 2 The place formed by the inter-subjective interaction represented by the 'flower' is similar to the spatial properties of the boundaries of the third landscape, but the rationality represented by the 'flower' is the opposite of the territory neglected by humans. In other words, the third landscape can be understood as a sensual space belonging to different subjects at the same time, The diverse field created by out of control'.

The theories of Gilles and Coccia made me rethink the presence of Allotment in Edinburgh, which seems to be a kind of 'captive' nature in Edinburgh. Similar to the third landscape, this can be understood as the interface between the human city and nature. But allotment is the opposite of the Third Landscape; it is not a space left by humans for the evolution of the landscape, but a new occupation of nature by humans. In other words, this is the landscape that nature has left to man

On a larger or smaller scale, an 'infinite' boundary can emerge between subjects. for the city, the whole allotment is the boundary. the same closes can be understood as the boundary of proximity in the old city. and the future-oriented The NV is also the boundary where the Caledonia forest grows in the city

At smaller scales, the boundary itself can also form a boundary within it. In proximity gesture, the interlocking, overlapping boundaries formed by Closes' diverse and complex urban spaces are recorded in the film. We began to explore ways of advancing the materialization of proximity through the development of boundary conditions. Specifically, through the representation and evolution of the relationship at the bottom of the diagram, different boundaries are presented in the plane of allotment and the shadow of close.

Discovering Boundary Condition

The gesture of Closes - The language of shadow - Boundry Condition

of Closes,

2-20 — Casting Seeds, CLOSE Studio, 2021.

Casting seeds

Boundary Condition

- Casting and Materiel study

- Casting Seeds

1. Emanuele Coccia and Dylan J Montanari, The Life of Plants : A Metaphysics of Mixture (Cambridge, Uk ; Medford, Ma: Polity Press, 2019), 27-59.

[Boundry Condition] - "Casting Seeds"

With the help of Coccia's Leaf Theory1, new life is created at the same time as the proximity atmosphere is formed by the mixture of subjects in the closes. The second stage of materialization begins to emerge in the space of the close to form the seeds of life:

The boundary in the proximity gesture (film) is not only the relationship to the bottom of the diagram in two dimensions. This can be reprojected in the reconfigured closes (models) in three dimensions, forming the seeds for the construction of proximity theatre entities.

The method of constructing the "Casting Seeds"

- Material study : the film records the different textures of the shadows created by the different overlapping methods. The different textures are mapped onto different materials with different translucencies and colors. (plaster, wax, jelly, resin).

- Casting: The material entities are created by molding. This is then reinstalled in the model of the configured closes, back in the light and shadow environment.

2-20 — The Method of Casting Seeds, CLOSE Studio, 2021.

The gesture of Closes

Boundary Condition

Casting Seeds in Closes, CLOSE Studio, 2021.

The

Casting Seeds in Closes, CLOSE Studio, 2021.

The

Proximity Theatre Filming

The Notation of [Theatre Life]

[Ecological

Performative

[Ecological Urbanism] - Network of Agency

Gregory Bateson's argument is the opposite of Darwin's theory of natural selection: "The unit of survival is organism plus environment."1 This is a concise explanation of the difference between 'subject' and 'individual'. The various subjects of nature cannot sustain life in isolation from each other, and the atmosphere, formed by the Mixture of species diversity, is the basis for survival and the birth of new life

"Our greatest need today is to see life as whole, to see its many sides in their proper relations; but we must have a practical as well as a philosophical interest in such an integrated view of life." 2

Geddes saw 'life' as an interdependent 'ecological whole'. His famous The Notation of Life'3 expresses the idea that in a healthy society, every part of life is interconnected.

The construction of the notation of theatre life in Closes is key to the formation of a new ecological Order of Proximity - PARA-Situation [Edinburgh] . Exploring people's local culturally based lifestyles within them is the basis for building a sustainable human society. For Edinburgh, the whole of proximity theatre life in Closes is the first exploration of urban ecological practice - The [FABB] Agencies. so Theatre Life does not just happen on stage, the theatre operates to connect multiple spaces.

work: the box office, the space guide, the performance choreography, the production and storage of props and costumes, and even the studio responsible for the design and construction of the theatre. Life: coffee, bars, toilets, flats.

The boundary entities formed by the Proximity Gesture are also given ecological, and cultural, life in this process. These discrete Casting Seeds are no longer separate points of intervention, but are lived as an interdependent 'Proximity Ecological whole'. As with natural ecosystems, the construction of a completely New System is the basis for the sustainable emergence of new life in Proximity on a larger scale, from the Inside out.

1. Gregory Bateson, Steps to and Ecology of Mind (New York, 1972), 491.

2. Philip Mairet, Pioneer of Sociology The Life and Letters of Patrick Geddes (Westport, Ct.: Hyperion Press, 1979), 1–22.

3. Geddes, Patrick. The Notation of Life. 1927.

|the Notation of Theatre Life| - Network of Agency [The New Caledonian Forest] - Building

3-2 — Forests growing in closes, CLOSE Studio, 2022.

BRest

|the Notation of Theatre Life| - Network of Agency

Performative Urbanism

The Notation of [Theatre Life]

1. Emanuele Coccia and Dylan J Montanari, The Life of Plants A Metaphysics of Mixture (Cambridge, Uk ; Medford, Ma: Polity Press, 2019), 99–105.

2. Sophie Wolfrum and Nikolai, Performative Urbanism : Generating and Designing Urban Space (Berlin: Jovis, 2015).

3. ibid.

Proximity is not limited to spatial penetration, so to speak, but the reconfiguration of intersubjective relations in the theatre is also a reconfiguration of proximity for closes. As in nature, the network between subjects is not only through physical connections. Coccia has given me a new understanding of the meaning of 'flower'1, the bee's ability to spread the pollen of plants for miles, which is the basis of life.

This is enough for us to begin to value the construction of a Proximity-network in life

The system formed by life in Closes necessarily reinforces or reconstructs the symbiotic network between the subjects. Specifically through the architectural language formed by Casting Seeds, in The series of theatrical living spaces established in the close.

Performative Urbanism2 - Closes

The immersive theatre is not just about constructing new iconic spaces that resemble traditional theatres, but also about shaping the environment as new subjects, making Closes part of the performance. 'The boundaries between urban public space and theatre space are blurred', 3 and the various types of subjects in Closes become part of the performance space and are immersed in the 'atmosphere of proximity' that they all shape together. The order created by the interaction of these subjects forms a complete and intimate ecological operating system in the Closes (NoA).

Rehearsal video studio

storage Theatre - four

a coffee shop for the audience to rest, and many platforms provide a perfect view of the whole site.

The audience and actors enter through the box office and enter a drama when they enter the site.

The lounge is provided for the actors, and the audience enters the next scene through the external stairs of the building.

The lounge is provided for the actors, and the audience enters the next scene through the external stairs of the building.

The main body of the building includes a theater with four chapters and a supporting actor preparation room.

The last building entering theatre is equipped with water circulation system, toilet and shower room.

[Synecdoche, Edinburgh]

[Proximity Theatre] in Studio

[Absolute Urbanism]

Archipelago of Proximity Theatre

Layes of Proximity in Close

[Synecdoche, Edinburgh]

[Proximity Theatre] in Studio

“There are nearly thirteen million people in the world. None of those people is an extra. They're all the leads of their own stories. They have to be given their due.”

― Charlie Kaufman

In Charlie Kaufman's "Synecdoche, New York" Philip searches for his true self in a world that is not real. In the film he directs a play in which he plays himself, referring to his own life as life within a life. New York is also referred to in the play as a theatre of factories, a city within a city.

Proximity Theatre is a metaphor for the Meta-theatre in Edinburgh, and the theatre is a metaphor for the proximity life in Closes, a metaphor for urban life, and a play that feels like Closes in Closes. This metaphor is not just spatial, but also time(historical).

We live in Edinburgh and build Edinburgh's urban development and future in Studio. This design process from the inside out makes the Studio a synecdoche for the city of Edinburgh (a city within a city). And the theatre model itself is a metaphor for the city. Interestingly, this becomes a nested relationship of 'a city within a city within a city'. So the theatre model in the studio is a Synecdoche for Closes in Edinburgh. The archive itself can even be understood as another Synecdoche.

This nested Meta-theatre relationship has given rise to a lot of thinking, with Close Studio as the designer and director of 'Synecdoche, Edinburgh' (as with Philip). We are looking for the "The City's Self" (but not the individual self) - Proximity. And We are all integrated into Edinburgh's life and are 'actors' in the city.

[Synecdoche, Edinburgh]

- Meta-theatre

Proximity Theatre

4-2, Synecdoche, New York (United States: Sony Pictures Classics, 2008).

1. Charlie Kaufman, Synecdoche, New York: The Shooting Script(United States: Sony Pictures Classics, 2008).

4-3 — PLAN of Proximity Theatre Model, CLOSE Studio, 2022.

[Synecdoche, Edinburgh]

- Meta-theatre

Proximity Theatre

[Synecdoche, Edinburgh]

Meta-theatre

Proximity Theatre

Tectonic

4-5 — Proximity Theatre, 'Synecdoche, Edinburgh', CLOSE Studio, 2022.

Control room BOX Office

Sopport Theatre Close's urban land, Concrete

rooms and lounges

Absolute Architecture Proximity Atmosphere

[Absolute Urbanism]

How to develop from a detached subject to an urban environment based on an ecological value system. The thesis of Absolute Urbanism is that architecture must be separated from urban space. 'The relationship of the architectural form to the urban environment it influences and builds is antagonistic and emphasizes the individuality of the architectural form.' 1 (But it is not a complete separation, for it is with the 'other' part that absolute architecture can exist.) This fits well with Guattari's theories of heterogeneity and the singularity of isolation and repression. Both of these theories do not take a master plan approach to urban design projects, but rather represent them as ' Archipelago ' of sitespecific interventions, as opposed to systemic and structural.

The theatre in the Closes acts as an intervention point, developing from a single island into Edinburgh's Archipelago , based on a proximity gesture methodology, forming multiple intervention points in multiple Closes. The Proximity Atmosphere in Close space creates a "new life" (COPPER). In the intricate closes of the royal mile, several different intervention points begin to permeate the larger scale(Casting seeds in Closes). On the SET Scale, plants have gone from leaves, roots, flowers, and branches, to several Mixtures, or Grove, before the forest, iterations of the theatre have permeated the urban space of the closes. The birth of life begins to influence the atmosphere and the surrounding subjects at the same time. (Theatres begin to permeate the closes, Theatre in SET)

With the 'iteration'2 of models and materials in Close, we contemplate new life in models of acrylic and luminous wax. copper in white wax is metaphorically embedded in Close's theatre, which resembles seeds in the crevices of a giant repressed white rock. Planting natural philosophy in the Closes saves Edinburgh from the ecological imbalance of human society.

Vittorio

The Possibility

Mit Press,

A study of multiple model development

Absolute

4-13 — Layes of Proximity in Close,CLOSES, CLOSE Studio, 2022.

FABB Agency Surrounding Circulation

of Proximity in Close',

Studio,

[Festival urbanism]

- Ecological Urbanism

"Humans should stop their parasitic abuse of nature and instead establish a two-way nature contract with nature." 1

On the urban scale, humans, the city, and nature should come together in Mixtures ecological balance, shaping the city into a Proximity Atmosphere (TLML) - The Festival of Edinburgh. This can be understood as a form of Ecological Urbanism.

Ecology is much more than simply defending nature. Guattari emphasises the role of the 'ecological problem' as a way of shaping human existence in a new historical context. In contrast to concepts that are only defined ideologically, he emphasises that the process of subjectification should operate on a real 'material existence'.2 Eco-urbanism as a practical tool, we emerge from theatre and performance on a TLML scale into an Urban Festival Atmosphere. But eco-urbanism is a recombination of multiple old and new methods, tools, and techniques that together construct a New Apparatus and a New Order. In this process the system of social functioning becomes part of the philosophy of nature, rather than just taking from it, which is the beginning of a natural contract.

In the Urbanism Chapter of Festival architecture3, Christine Macy dissects Fasnacht, Basel's biggest festival. 'Basel's streets and squares, landmarks, and monuments are given meaning through the festival.'4 It made me rethink Edinburgh's festival performances across the city in August, particularly the giant temporary theatre on the castle for the Edinburgh Military Tattoo - Tattoo arena - which is not just a spectacular architectural entity that occupies the space of the city, but people are also involved in the world of the festival, from all walks of life in the city. From planning to preparation, to performance, they build and immerse into this great festival.

[Festival urbanism] - Ecological Urbanism

Proximity Atmosphere (TLML)

The Festival of Edinburgh

1. Michel Serres, The Natural Contract (Ann Arbor, Mich.: University Of Michigan Press, 2011), 36–37.

2. Félix Guattari, The Three Ecologies, trans. Ian Pindar and Paul Sutton (London: The Athlone Press, 2000), 69.

3. Sarah Bonnemaison and Christine Macy, Festival Architecture (London ; New York: Routledge, 2008), 238–41.

4. ibid.

5-2, The Royal Edinburgh Military Tattoo. “Building Our Tattoo Arena.” www. youtube.com, May 4, 2022. https://www.youtube.com/watch?v=pGfbydH42Ig.

Casting

[The

Caledonian Forest]

[The New Caledonian Forest] - TLML

On the TLML scale 'proximity' becomes the proximity of Edinburgh's Intersubjectivity, the city's performance and celebration of festivals is Edinburgh's Festival Urbanism, and like man's understanding of primordial nature, the city's diverse and almost forgotten subjects are reconnected by the festival constructed by proximity. This balance of nature creates an urban environment that is the proximity atmosphere TLML.

This means that people are engaged in activities for common sense, a goal, and a sense of belonging. The diverse groups of the city come together to plan, prepare, produce and celebrate. Humanity has put ecological philosophy on an urban scale, forming a bottom-up ecological social system. It is also a revolt against the urbanization process that is entirely dominated by globalization.

We express the process of theatre's penetration of the old town in Proximity Atmosphere through the formation of Patina and the multi-layered drawing models. The history of the Closes, the formation of the Closes in ProximityTheatre, the festive atmosphere in the streets of the Old Town and the growth of the Caledoian Forest are metaphorically represented through the copper, the light and shadow, the transparent acrylic and the model of the Closes. The final iterations form multiple layers of New Visualization.

Proximity Atmosphere (TLML)

[The New Caledonian Forest] - TLML - COPPER Tectonic Archipelago

[The

The

Proximity Atmosphere (TLML)

[The New Caledonian Forest] - TLML

COPPER Tectonic Archipelago

The gesture of Closes

language of

Archipelago,

Old Closes

Network

Old Town Environment,

Surrounding urban

Support

[Proximity in Studio

Synecdoche, Edinburgh's Exhibition & Archive

STUDIO 5, 2022

MINTO HOUSE 20 CHAMBERS STREET EDINBURGH, EH1 1JZ

Synecdoche, Edinburgh's Exhibition & Archive

The objectivity of the Archive becomes a complete pseudo-proposition under Derrida's system of logic. Media and technology are by no means merely passive communicators, but active constructors of archives. The development of media and technology has led to a great change in the meaning and form of existence of the archive.

Compare the classical archive with the Youtube type of video platform of the Internet era, or the "Mystic Writing Pad"1 proposed by Freud with email. It can be argued that the archive has shifted from an almost private space to a more public one. Media and technology provide the 'apparatus' for the builder and the content structure for the archive. The influence of this "intermediate" is growing.

It is also possible to say that our exhibition in the studio is not only part of the proximity theatre - synecdoche Edinburgh - but also a medium for the construction of the archive and space for its storage, arkheion. archive is also the role of the exhibition. The performance of the proximity theatre is also a further reference to synecdoche Edinburgh.

1. Sigmund Freud, “A Note upon the ‘Mystic Writing Pad,’” 1925.

- STUDY, Theatre Stage 1: 1 D2

- Capricci, life of Theatre, 1: 1 - Capricci, life of Theatre, 1: 1 D3 - BUILDING, Symbiosis in Close, 1: 50 D4

- STUDY, Sections of Theatre, 1: 50 D5 - SET, Layes of Proximity in Close, 1: 200

M1

- TLML, Festival of Edinburgh, layers of Closes, 1: 800 M2

- SET, Archipelago of Proximity Theatre, 1: 200 M3

- STUDY, 'Synecdoche, Edinburgh', Detail of Agency, 1: 50 M4

- SET, Theatre in Warriston's Close, Shadow and Casting Model, 1: 200 M5

- TLML, layers of Closes, 1: 1000

A1

- Archive, Another Four Closes, 1: 1 A2 - Film, Sences in Proximity Theatre, 1: 1

6-5

Archive, Four 'New Closes', CLOSE Studio,

[CONCLUSION]

The theory of The Caledonian Forest allowed us to rethink the relationship between people, forest, and architecture . The scripted architectural space (narrative) and the COPPER tectonic (materials and components) are used to further construct the details of the theatre scene (DoA). Synecdoche Edinburgh and Performative Urbanism lead us to construct a complete and intimate ecological operation of the urban space and the theatre space, as well as the various parts of the theatre facility (NoA). (NoA). Using the logic of Absolute Urbanism , theatre is used as a point of intervention to develop from a single island into Edinburgh's Archipelago , and together these processes of subjectivation form Festival Urbanism, which is Edinburgh's New Caledonian Forest (NV).

We must be aware of the visible and invisible social relations that exist between the various spheres of the larger city and country. The "Subjectification" of this dynamic cannot be achieved simply through material entities, and this is a question worth investigating.

hand drawing, CLOSE

|Configured Urbanism|

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