POWDER P U F F E D F A U X F A T & SAFE SEX SELECTED WORKS of BRADLEY WALTERS: 1991-1996
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SELECTED WORKS of BRADLEY WALTERS: 1991-1996
We have no time to waste. Better supply the right fruits a little unripe than supply none at all or the wrong sort overripe. Hurry, switch on the stars before the fuses go! Van Eyck, 1959
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This document was conceived and created in its entirely by Bradley Walters. All work described herein, except as noted, is the sole work and property of Bradley Walters. Unauthorized reproduction and/or distribution of this work is prohibited.
Address inquiries to: Bradley Walters 1201 NW 34th Terrace | Gainesville FL 32605 USA T: 352.514.7994 | bradley.walters@ufl.edu studiowalters.com
001. Drawing of “L’Esclave Rebelle” (The Rebellious Slave, by Michel Agniolo Buonarroti for the tomb of Julius II, 1513-1516. Marble. Louvre). 6B Pencil. 1995. Paris, France.
Spring 1995 Architectural Design 8 Studio Project: Vicenza/Venezia Italia Critics: Peter Chomowicz, Caroline Constant
Shelter: A Communicable Architecture Bradley Walters
The individual is being reinterpreted today. The human body has been reduced to a container of fluids, fluids which must remain both isolated and isolatable from other fluid bodies. This reinforcement of the inviolable self severs interaction; the ensueing social sterility produces a culture of unearthed biological units isolated by fear, fear of a fluid communion. This project attempts to redefine interpersonal space and relations to facilitate a fluid communion amongst individuals. The destination is the construction of an architecture of dwelling as an act of continuous participation of the soul in life. Rather than conception from inside to outside or one (singular) to many (plural), this precept allows for a simultaineous existence of the human and his/her construct amongst one another. The architecture is not an anthropomorphic figural projection but a construction of the relationship between individuals; the social intercourse and inherent political manipulations are negotiated by the architecture. This architecture, indebted to the force-lines of Umberto Boccioni and the condition of urbanity, attempts to destroy the dialectics of public:private and architecture;man. The result is the construction of a human architecture, capable of sustaining the soul and body through the universal field of a society in motion.
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Shelter: A Communicable Architecture | Bradley Walters
002. Figure Studies.
“‘The object has no form in itself; the only definable thing is the line which reveals the relationship between the object’s weight (quantity) and its expansion (quality).’ The object is resolved plastically into its component quantae of force which in turn are determined by the qualities of the field--here gravity and centrifugality. Lines or rather ‘force-lines’ (linee-forze) describe the object’s nature (character and quality of field) not its movement as such (displacement of form against a fixed ground). Force-lines are of an entirely other order; they depict a condition of interface of pure transmission without medium: the becoming-line of matter and the becoming-immanent of both.” (Kwinter, Sanford. “La Citta Nuova: Modernity and Continuity,” from Zone 1/2, p.93, with subquote by Umberto Boccioni)
003. The Initial Act of Shelter: The Crouching Figure.
004. The Erect Figure.
Drawing inward beneath the arched back, the individual defines the initial home. The voice of the self (internal) overwhelms physical (external) stimuli. Exterior space is only passively affected.
The raised figure, more susceptible to injury, finds shelter in an active participation with and reliance on other ‘selves’ acting in parallel. External space is actively captured and affected.
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Studio Project: Vicenza/Venezia Italia | Spring 1995
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Creation of the Inbetween.
Two individuals define a new ‘singular self.’ The space of each individual extends THROUGH the other, not overlapping or wrapping but penetrating.
Two unique (and distinct) referential and perception systems define the singular compact object. This object is the space of the ‘inbetween.’
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Shelter: A Communicable Architecture | Bradley Walters
009. Massing Study.
010. Massing Study.
The currents of people in the Campo and side alleys describe the possibilities and conditions for occupation of the perimeter. Rhythm and tempo are established in the linkages of the units to the existing campo, street, side alley, and rear alley. The currents are chanelled and eddies
created for the program of dwelling. A range of movements, from large numbers of people in the campo to the individual asleep are moderated and determined by the architecture. There is no consistent inside or outside, only relative degrees of enclosure.
011. Site Study.
A Venezia, ci sono i fiumi delle persone. In Venice, there are rivers of people.
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013.
Dwelling for one individual. il dorso arcato/la figura diritto
Dwelling for two individuals lo spazio della tensione tra due persone
Transcription of the papier mache figure/space studies: the space of the arched back and the upright figure.
The space of tension between two persons.
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Studio Project: Vicenza/Venezia Italia | Spring 1995
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Insertion of dwellings into context.
The massing of dwelling units on site is studied firstly by looking at the context itself (top pair), secondly by placing the construct within the space of the site (middle pair), and finally by formally resolving the spaces of the units themselves in the bottom pair of images.
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Shelter: A Communicable Architecture | Bradley Walters
Sectional model of dwelling mass, including units for one, two, three-four, and five people.
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022. Sectional Study Model of a Dwelling Unit for Teo People.
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Studio Project: Vicenza/Venezia Italia | Spring 1995
023.
024. Dwelling Unit for Two People.
025.
A section through the dwelling unit for a single individual with the Campo edge in the foreground and the interior court beyond. A dwelling unit for two people is immediately adjacent (to the right), a unit for threefour individuals is above, and a unit for five or more persons is at the ground level beyond (below the court).
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026. The portal of a commercial airliner and unidentified flight attendant.
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Autumn 1994 Architectural Design 7 Studio Project: Boston MA Critics: Ron Haase, Alvaro Malo
The Arterial Project: Stasis and Motion Bradley Walters
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The Arterial Project: Stasis and Motion | Bradley Walters
027. Study of the historical development of roads and pathways in Boston. Active lines (denoted above as the widest/boldest) are those which do not conform to any topographic changes. Passive lines (denoted above as thinner) are lines that follow the topography or active lines which preceded them.
028. Mapping/Network Study Model. The dark region (top center) is the area of the North End; The open rectangle references Boston City Hall; The tiny dark square just below it is the Old City Hall.
029. Study Model of the conditions of the North End.
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030.
Studio Project: Boston MA | Autumn 1994
031. The Market.
032. Convergence at the Market.
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034. Skateboarders and Strollers at Government Center.
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037. New “Street� between the North End (to the right) and the existing Government Center parking garage (to the left).
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The Arterial Project: Stasis and Motion | Bradley Walters
PROGRAM
across the tongue dancers meet taking hands and cues and in the passion a whisper the music ignites the blackness sun drops upon dry lips open no sound escapes this bottle to the fluid beyond! swim in the revelry moist with anticipation of the deluge lips in the spell of now bodies in motion no tethers square the mind grasping for air. Death. a little at a time. gasping. the stars beckon. knock dirt from the pedestrian’s sole empty veils consume the eye within this bottle the knife pierces might i have this dance?
240 flats (dancers)
at 750 sf each 240 toilets 480 lavatories
100 apartments
at 1 500 sf each 150 toilets 300 lavatories
33 thresholds (lips)
12 stairs 12 elevators 9 ramps
10 laundromats
at 2 000 sf each 100 washing machines 100 dryers
8 offices
at 15 000 sf each
5 pubs (tongue)
at 2 000 sf each 5 brews on tap 20 stools
3 coffee houses
at 2 000 sf each must serve espresso must serve black coffee must serve cappucino
2 barber shops
at 2 000 sf each 2 hairstylists in each
1 retail (now)
30 000 sf interior subdivisions
1 playground (no tethers)
44 800 sf
1 discoteque
2 500 sf liquor must be served
1 theatre (revelry)
1 000 seats at 20 sf/person 20 000 sf total
038. A “Statement of Program,” as developed for occupation of the site. The Program, rather than being injected into the project at the front end, was divined concurrent with the spatial explorations of the site, allowing it to arise from the site itself.
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Studio Project: Boston MA | Autumn 1994
039. Section Model, showing one of the new “streets” to traverse the buried expressway. Twenty-four (24) flats are seen overlooking the exposed highway at this location. The point of anchorage at the near side (right) is a coffee house at ground level and four (4) flats above. In the distance (to the upper left) is a bank of sixteen (16) apartments.
040. Office and retail spaces at the terminus of a new “street.” A portion of the North End is seen beyond with the expressway between the North End and this construct.
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041. The rear approach to Drayton Hall Plantation on the Ashley River in South Carolina.
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Spring 1994 Architectural Design 6 Studio Project: Savannah GA/Charleston SC Critic: Ron Witte
Intersection Bradley Walters
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Intersection | Bradley Walters
042. Intersection: Site.
043.
044. Intersection: Program.
045.
046. Intersection: Site and Program.
047.
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Studio Project: Charleston SC | Spring 1994
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Intersection | Bradley Walters
050.
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Studio Project: Charleston SC | Spring 1994
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Intersection | Bradley Walters
055.
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Studio Project: Charleston SC | Spring 1994
056.
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057. Two-lane highway to the West Coast of Florida.
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Autumn 1993 Architectural Design 5 Studio Project: Ozello FL Critic: Martin Gundersen
(re)collection: Memory (re)Constructions Bradley Walters
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(re)collection: Memory (re)Constructions | Bradley Walters
MEMORY Memory is the record of that which takes place within and around us. The process of creating these memories or memory images--of things, places, people, or ideas--is therefore an inherent meeting of the physical and nonphysical, internal and external. Sensual perceptions undergo an active transformation through a series of repetitions before a comparatively stabilized state is achieved. For, while external perception provokes on our part movements which retrace its main lines, our memory directs upon the perception received the memory-images which resemble it and which are already sketched out by the movements themselves. Memory thus creates anew the present perception; or rather it doubles this perception by reflecting upon it either its own image or some other memory-image of the same kind. If the retained or remembered image will not cover all the details of the image that is being perceived, an appeal is made to the deeper and more distant regions of memory, until other details that are already known come to project themselves upon those details that remain unperceived. And the operation may go on indefinitely; memory strengthening and enriching perception, which, in its turn becoming wider, draws into itself a growing number of complementary recollections (Bergson, 123). Frank Curran, M.D. and Paul Schilder, M.D. studied this transformation by reading a story to a subject once and then having the subject repeat the passage numerous times until the subject was completely exhausted and refused to continue. On the basis of these experiments, the following can be identified as the most important changes which took place through the repetitions:
058. Vertical Panorama of Site.
1. Substitution of a phrase by a similar phrase. 2. Addition of phrases to the story. 3. Substitution with emotionally charged word(s). 4. Depreciation. 5. Vulgarity. 6. Substitution--moral connotation. 7. Addition of words. 8. Items omitted. 9. Reappearance of omitted names/sentences. 10. Changes in the location of a word. 11. Reversal of two items. From this process, “a primative version crystallized. This preserved many of the mistakes and perseverations, which were not much changed by further repetition. It is as if the patient reached a comparatively stabilized state after a period of active elaboration and construction� (Schilder, 282).
060. Mapping of Site.
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059. Vertical Panorama of Site.
Studio Project: Ozello FL | Autumn 1993
061. Space of Memory (re)Construction in Site: Moment No. 4 in foreground; No. 5 in background.
062. Space of Memory (re)Construction in Site: Moment No. 3 in foreground; No. 2 in background.
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(re)collection: Memory (re)Constructions | Bradley Walters
THE CONSTRUCT The eleven-step process as reduced from the studies of Schilder and Curran provides a method through which a “memory” can be created. The initial gesture is the extraction of a diagram of site conditions from each of the five (5) “moments” perceptually identified as significant edges. These diagrams are then transformed through the eleven steps denoted above. The result of this process is a set of eleven two-dimensional “plates” for each moment as records of the transformation that has taken place. These separate plates are tne connected (physically) by allowing the third dimension to grow from commonalities on the plates and the transformation which is taking place. The assemblage of plates, with the original site diagram at one end and a stable, constructed memory at the other end, becomes a three-dimensional spatial and material matrix. The matrix is then clarified; spatial volumes which begin to appear are reinforced as built form; irregularities and inconsistencies are reinterpreted yet remain disruptions within a field. Occupiable space emerges.
063. Initial Site Diagrams: Moment No. 4.
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064. Plates: Memory Transformations.
Studio Project: Ozello FL | Autumn 1993
065. Assembled Matrix.
066. Structural Emergence from Matrix.
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(re)collection: Memory (re)Constructions | Bradley Walters
ORIENTATION Up to this point in time, the three-dimensional matrixes have no ground or orientation in space, except for the implications of the original diagram imbedded within it. Two types of perception provide these orientations: Attentive perception is often represented as a series of processes which make their way in single file; the object exciting sensations, the sensations causing ideas to start up before them, each idea setting in motion, one in front of the other, points more and more remote of the intellectual mass. Thus there is supposed to be a rectilinear progress, by which the mind goes further and further from the object, never to return to it (Bergson, 126). Reflective perception is a circuit, in which all of the elements, including the perceived object itself, hold each other in a state of mutual tension as in an electric circuit, so that no disturbance starting from the object can stop on its way and remain in the depths of the mind: it must always find its way back to the object whence it proceeds (Bergson, 127). At sites (or edges) which are in a more pronounced state of flux where the solid and temporal meet (namely at nos. 2, 4, and 5), the instability of change evokes attentive perception. At these locations, the plates of the three-dimensional matrix are oriented sectionally, so that the initial perception is that of the original site diagram. From that point, we move into and through the multiple evolutions of this diagram, experiencing and inhabiting a series of transformations as the process of memory changes and adapts it. The perceptual result is that we are never again allowed to return to the original site diagram; We always occupy a sensation more or less distinct yet always physically separate from that which immediately preceded it. This may then be set in contrast with the remaining two moments, no. 1 and no. 3. Although this environment is in a constant state of change, these points are located at edges where solidity meets solidity (solidity identified here as a relatively constant, non-temporal presence or phenomena as opposed to a temporal one). These are points of reflective perception. At these locations, the plates of the three-dimensional matrix are oriented in plan, such that from any point within the construct, we have a registration of the original site diagram. Perceptually, occupiable zones connect the plates instead of separating them sectionally. We occupy the spaces in a continuous action where an equality between built and existing, original diagram and transformations, is established. Let us then summarize what has taken place so far: An initial diagram of the site was made and extracted from it. Once removed, this diagram was transformed through a process of memory-image formation based on the studies of Schilder and Curran. The original and transformed diagrams were constructed as threedimensional matrixes. The matrixes were then oriented in either predominately plan or section based on the spatial sequence generated from and necessary to generate either attentive or reflective forms of perception.
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Studio Project: Ozello FL | Autumn 1993
067. Memory (re)Construction Inserted into Site.
RE(CONSTRUCTION) Now the memory (re)constructions are returned to the original location where the diagram was conceived. This becomes the structure immediate to us, our point of contact with the recollections of the site. A separate system, independent of the natural landscape and the memory (re) constructions arises to mediate between the two. This system functions as an envelope, skin, and path, responding to the scalar changes of the particular site and governing the location and amount of light within the construct. The landscape can be identified by its constituent parts and their particular interaction(s). “Through the interaction of surface, relief, vegetation, and water, characteristic totalities or places are formed which constitute the basic elements of landscape� (Norberg-Schulz, 37). These elements are recognized site conditions as instances of scale and layering. The elements become a constant, which we are able to recognize and remember as a continuum--their
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(re)collection: Memory (re)Constructions | Bradley Walters
068. Space of Memory (re)Construction in Site.
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Studio Project: Ozello FL | Autumn 1993
interaction becomes primary. At no single episode are all elements measurable, nor can all be viewed in a continuous image. We are able only to feel changes in the elemental conditions as correspondent to one another. The built “skin� becomes an act of subdivision and separatoin, therefore. It is a part within the whole--as separation of the elements, formally expressive of variations in their associations across the landscape.
069.
This skin then employs light as a means of linking skin and structure. Light, as a critical component, innervates and changes the nature of the space, allowing the distinct elemental conditions of each moment to be registered relative to each other. Light then identifies the points at which intimate contact with and knowing of the landscape take place. REFERENCES Bergson, Henri. Matter and Memory. London: George Allen and Unwin Ltd., 1911. Norberg-Schulz, Christian. Genius Loci: Towards a Phenomenology of Architecture. New York: Rizzoli International Publications, Inc., 1980. Schilder, Paul. Mind: Perception and Thought in Their Constructive Aspects. New York: Columbia University Press, 1942.
070.
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071. Diagram from the first day of Design 1: description of “focal point� on plain white paper with point, line, and plane. Pencil. 1991. Gainesville, Florida.
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Autumn 1991, Spring 1992, Autumn 1992, Spring 1993 Architectural Design 1,2,3,4 Studio Projects Critics: Pam Musella, Nina Hofer, Mikael Kaul, Peter Chomowicz
Experiments in Form and Space Bradley Walters
The experiment demands complete isolation of variables. As such, the body of cultural knowledge is discarded to provide the desired “sterile” environment in which models can be constructed and tested. These “models,” consisting of words, images, and built form, define a shared formal language that is both self-referential and auto-critical. This process formulates an architecture that exists independent of physical restraint, other than the inherent structure particular to each construct. this is an architecture that strives toward the realization of the pure idea in built/experiential form. The construct and the generative idea are tested not relative to cultural or historical precedent; Rather each is evaluated through the manifestation of the other.
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Experiments in Form and Space | Bradley Walters
Studio Projects: Design 1 | Autumn 1991
072. Sketch through “kit o’parts” model.
Construction of the Idea through writing, drawing, and building begins with a reduction to three components: point, line, and plane. These “diagrams,” owing to the work of Paul Klee and the Bauhaus, provide vehicles through which the idea is translated into physical form. The diagram is the reference and measure of the studies that follow.
073. Intervention: Space of production.
074. Diagram: Central/Radial Study.
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075. Diagram: Linear Study.
076. Context with interventions.
Experiments in Form and Space | Bradley Walters
Studio Projects: Design 2 | Spring 1992
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Experiments in Form and Space | Bradley Walters
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Studio Projects: Design 3 | Autumn 1992
Experiments in Form and Space | Bradley Walters
Studio Projects: Design 4 | Spring 1993
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093. Vicenza, Italia.
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Spring 1995 Individual Drawing Studies: Vicenza/Venezia Italia (extracurricular)
Excerpts Bradley Walters
22 febbraio 95 drawing is the construction interpretation the intangible made tangible to mark the expressive mark beautiful the hand teaching the eye to see a record the intersection of the individual and the community teaching of the self via the self teaching of the body via the mind crude searching....finding reflexive the extension of the soul public private the intersection of the interior and exterior emotion emotional the Divine channelled through the secular human
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Excerpts | Bradley Walters
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Individual Drawing Studies | Spring 1995
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Excerpts | Bradley Walters
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Individual Drawing Studies | Spring 1995
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Excerpts | Bradley Walters
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Individual Drawing Studies | Spring 1995
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Excerpts | Bradley Walters
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Individual Drawing Studies | Spring 1995
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Excerpts | Bradley Walters
116. Study of Douglas Siu at the Monumento ai Caduti (Monument to the Fallen, Erba Ticino, 1928-32). 6B Pencil. Como, Italia.
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Individual Drawing Studies | Spring 1995
117. Study of three chairs in a row. 6B Pencil. Vicenza, Italia.
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118. Composition. Watercolor and pencil. 1995. Vicenza, Italia.
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