Given, Even - Manual of Instructions by Jack Murray

JACK MURRAY

GIVEN, EVEN Manual of Instructions

Manual of Instructions for

JACK MURRAY GIVEN, EVEN 1° 2°

Memorial Gallery Seventeen Lessons...

S3600165 RMIT University

S1, 2021

(Being seventeen lessons, each accompanied with a project that have developed out of a semesters involvement in a method of thought)

17 LESSONS FOR

THIS PROJECT MAJOR PROJECT ARCHITECTURE

I AM NEVER RIGHT

B U T .......

! I

BEGIN

LET ME TELL YOU:

☞

This Project is a Gilded Tortoise. Major Project Architecture Sometimes an idea is dead on arrival, but it still sits in a corner. It has a glistening carapace, and that’s enough. You are allowed to decorate a dead animal.

☞

This Project is a philosopher’s cell. Major Project Architecture To withdraw from the world in order to think is sometimes necessary. A space of thought is a constructible space. You are allowed to withdraw.

☞

This Project is a reclusive rewriter. Major Project Architecture It is unnecessary to complete an original contribution. But it is necessary to be an original rewriter. The work taken week by week is a reorganisation of your room. You are allowed to rewrite.

☞

This Project is a combinatorial offertory. Major Project Architecture An interest in the world is enough. The world can enter and pass through and only take its leave once it has imparted a trace of its passing. The lines of flight escaping through will always leave a reminder. You are allowed to offer your own line of flight.

This Project is a petronomadic Ahab. Major Project Architecture The pursuit of something is key. It doesn’t matter necessarily what fleeting prey you hunt; it simply matters the intensity with which you pursue it. You are allowed to track something no one else can see.

} } } } }

SPEAK

YOU

☞

This Project is a foul-smelling cab sav. Major Project Architecture Sometimes, the object of your inquiry will let off a foul stench – it doesn’t have to be good. It doesn’t have to smell like rosewater and incense. It will taste bitter. You are allowed to drink it, no-one will judge you for it.

☞

This Project is an inversion. Major Project Architecture The graft required to follow your nose sometimes gets you turned around. You are allowed to stare at a wall for a while.

☞

This Project is an escape. Major Project Architecture The contingencies of the world are unavoidable for the most part, but there will be a moment, a gap in the fence, where the pursuit of an impossibility is opened. You are allowed to seize the gaps.

☞

This Project is a ready-made thing. Major Project Architecture It doesn’t have to be art. It simply has to capture the potential of a decision. Or many decisions. You are allowed to make as many or as few decisions as you would like

10.

☞

This Project is an agricultural machine. Major Project Architecture It doesn’t have to be a farm – it doesn’t have to be a threshing harvester. All that is required is to produce something tasty and witness the rotating blades pass through the wheat. You are allowed to produce food for thought.

11.

☞

This Project is a game of chess. Major Project Architecture There is a familiar opening, a wild midgame, and a recognisable endgame. It doesn’t matter if checkmate is found or not. It is enough to play a beautiful game, even if at the end, your king is laid down. You are allowed to enjoy the game.

12.

This Project is a dead end. Major Project Architecture Get comfortable deleting your project – delete it over and again. Ever tried, ever failed. Try again. Fail again. Fail better. You are allowed to fail.

} } } } } } }

☞

13.

This Project is a constant construction. Major Project Architecture It will always be in construction, or partially demolished, or somewhere floating hazily between the two. You are allowed to end where you began, and claim value.

☞

14.

☞

This Project is a container. Major Project Architecture There is no escaping the fact that you will enclose in this, all your hopes, fears and anxieties. It is at its core a psychological apparatus clothed in the guise of something worthwhile. You are allowed to acknowledge yourself.

15.

☞

This Project is a folly. Major Project Architecture There will be that which has no purpose. It is enough that it is done. You are allowed to complete pointless things.

16.

☞

This Project is an agreement. Major Project Architecture Value is a fiat proposition, agreed to through an act of language. You are allowed to develop a fiat architecture.

17.

This Project is incomplete. Major Project Architecture If you reach the end, you will have found yourself in the perfect spot to start. You are allowed to end where you began.

} } } } }

We present to you today in the form of pornography, a vulgar and baroque spirit. It is not PURE IDIOCY that is claimed BUT

DOGMATISM

Melbourne

AND

PRETENTIOUS

IMBICILITY

08 June 2021.

For Further Information

Address to “C’EST 2, Main Street.

PAS”

Tel. (04)81187129

J. Murray.

(The Signitaries of this manifesto live in France, America, Spain, Germany, Italy, Switzerland, Belgium, etc. but have no nationality

DADA STIRS UP ALL DADA knows everything. DADA spits out everything.

B U T ....... HAS DADA EVER TOLD YOU :

about Italiy about accordians about women’s underwear about the homeland about sardines about Fiume about Art (you exaggerate dear friend) about the sweetness about the Annunciation about how awful it is about heroism about moustaches about lust about sleeping with Verlaine about the ideal (he’s nice) about Massachussetts about the past about smells about salads about the genius. about the genius. about the genius about the Eight-hour-Day and about the violets of Parme

NEVER NEVER NEVER DADA

doesn’t speak.

THE GOVERNMENT

DADA

has no fixed idea.

DADA

doesn’t catch flies.

OVERTHROWN. BY WHO? BY

DADA

The futurist is dead. Of what? Of DADA

S E Y

A young girl commits suicide. Because of what? Because of DADA We contact the spirits. Who is it? The Inventor? DADA We march on our feet. That is DADA O If you have serious ideas about life, N If you make artistic discoveries and if all of asudden your head is seized with fits of laughter if you discover all your ridiculous and useless ideas, know that

IT IS DADA THAT BEGINS TO SPEAK TO YOU

artistically cubism builds a cathedral of liver pate a r t i s t i c a l l y e x p re s s i o n i s m p o i s o n s t h e s a rd i n e s artistically orphism is still at its first communian artistically futurism wants to rise in a lyrical elevator

What does DADA do ? What does DADA do ? What does DADA do ? What does DADA do ?

artistically unanimism embraces toutisme and line-fishing

What does DADA do ?

artistically neo-classicism discovers the benefits of art

What does DADA do ?

a r t i s t i c a l l y t h e p a ro x y s m d e v e l o p s t r u s t i n a l l c h e e s e s

What does DADA do ?

a r t i s t i c a l l y t h e u l t r a i s t re c o m m e n d s m i x i n g t h e s e 7 t h i n g s

What does DADA do ?

artistically the creationist the vorticist the imagist also propose some recipes

What does DADA do ?

50 francs reward to the one who finds the means to explain us

DADA Dada passes everything through a new net. Dada is the bitterness that starts laughter in all that we have spent the summer devoted to forgetting, in our language, in our mind, in our habits. It tells you: Behold Humanity and the beautiful fools that were happy until this advanced age.

☞

DADA

HAS ALWAYS EXISTED THE HOLY VIRGIN WAS ALREADY A DADAIST

☞

DADA IS NEVER RIGHT Beware of counterfeiters !

These imitators of DADA want to present DADA in an artistic form it has never possessed We present to you today in the form of pornography, a vulgar and baroque spirit it is not PURE IDIOCY that is claimed by DADA BUT DOGMATISM AND PRETENTIOUS IMBICILITY

Paris 12 January 1921. For Further Information

Address to “AU SANS PARIEL” 37, Avenue Kleber.

Tel. PASSY 25-22

E. Varese, Tr. Tzara, Ph. Soupault, Soubeyran, J. Rigaut, G. Ribemont-Dessaignes, M. Ray, F. Picabia, B. Peret, C. Pansaers, R. Huelsenbeck, J. Evola, M. Ernst, P. Eluard, Suz. Duchamp, M. Duchamp, Crotti, G. Cantarelli, Marg. Buffet, Gab. Buffet, A. Breton, Baargeld, Arp, W.c. Arensberg, L. Aragon, J. Murray.

(The Signatories of this manifesto live in France, Australia, Spain, Germany, Italy, Switzerland, Belgium, etc. but have no nationality

ARCHITECTURE STIRS UP ALL ARCHITECTURE knows everything. ARCHITECTURE spits out everything.

B U T ....... HAS ARCHITECTURE EVER TOLD YOU :

NEVER NEVER NEVER ARCHITECTURE doesn’t speak. ARCHITECTURE has no fixed idea. ARCHITECTURE doesn’t catch flies.

THE GOVERNMENT

OVERTHROWN. BY WHO? BY ARCHITECTURE

The futurist is dead. Of what? Of ARCHITECTURE

S E Y

A young girl commits suicide. Because of what? Because of ARCHITECTURE We contact the spirits. Who is it? The Inventor? ARCHITECTURE We march on our feet. That is ARCHITECTURE O If you have serious ideas about life, N If you make artistic discoveries and if all of asudden your head is seized with fits of laughter if you discover all your ridiculous and useless ideas, know that

IT IS ARCHITECTURE THAT BEGINS TO SPEAK TO YOU

artistically cubism builds a cathedral of liver pate

What does ARCHITETCURE do ?

a r t i s t i c a l l y e x p re s s i o n i s m p o i s o n s t h e s a rd i n e s

What does ARCHITECTURE do ?

artistically orphism is still at its first communian

What does ARCHITECTURE do ?

artistically futurism wants to rise in a lyrical elevator

What does ARCHITECTURE do ?

artistically unanimism embraces toutisme and line-fishing

What does ARCHITECTURE do ?

artistically neo-classicism discovers the benefits of art

What does ARCHITECTURE do ?

a r t i s t i c a l l y t h e p a ro x y s m d e v e l o p s t r u s t i n a l l c h e e s e s

What does ARCHITECTURE do ?

a r t i s t i c a l l y t h e u l t r a i s t re c o m m e n d s m i x i n g t h e s e 7 t h i n g s

What does ARCHITECTURE do ?

artistically the creationist the vorticist the imagist also propose some recipes

What does ARCHITECTURE do ?

50 francs reward to the one who finds the means to explain us

ARCHITECTURE Architecture passes everything through a new net. Architecture is the bitterness that starts laughter in all that we have spent the summer devoted to forgetting, in our language, in our mind, in our habits. It tells you: Behold Humanity and the beautiful fools that were happy until this advanced age.

☞

ARCHITECTURE HAS ALWAYS EXISTED THE HOLY VIRGIN WAS ALREADY AN ARCHITECT

☞

ARCHITECTURE IS NEVER RIGHT Beware of counterfeiters !

These imitators of ARCHITECTURE want to present ARCHITECTURE in an artistic form it has never possessed We present to you today in the form of pornography, a vulgar and baroque spirit it is not PURE IDIOCY that is claimed by ARCHITECTURE BUT DOGMATISM AND PRETENTIOUS IMBICILITY

Paris 12 January 1921. For Further Information

Address to “AU SANS PARIEL” 37, Avenue Kleber.

Tel. PASSY 25-22

(The Signatories of this manifesto live in France, Australia, Spain, Germany, Italy, Switzerland, Belgium, etc. but have no nationality

MAJOR PROJECT STIRS UP ALL MAJOR PROJECT knows everything. MAJOR PROJECT spits out everything.

B U T ....... HAS MAJOR PROJECT EVER TOLD YOU :

NEVER NEVER NEVER MAJOR PROJECT doesn’t speak. MAJOR PROJECT has no fixed idea. MAJOR PROJECT doesn’t catch flies.

THE GOVERNMENT

OVERTHROWN. BY WHO? BY MAJOR PROJECT

The futurist is dead. Of what? Of MAJOR PROJECT

S E Y

A young girl commits suicide. Because of what? Because of MAJOR PROJECT We contact the spirits. Who is it? The Inventor? MAJOR PROJECT We march on our feet. That is MAJOR PROJECT O If you have serious ideas about life, N If you make artistic discoveries and if all of asudden your head is seized with fits of laughter if you discover all your ridiculous and useless ideas, know that

IT IS MAJOR PROJECT THAT BEGINS TO SPEAK TO YOU

artistically cubism builds a cathedral of liver pate

What does MAJOR PROJECT do ?

a r t i s t i c a l l y e x p re s s i o n i s m p o i s o n s t h e s a rd i n e s

What does MAJOR PROJECT do ?

artistically orphism is still at its first communian

What does MAJOR PROJECT do ?

artistically futurism wants to rise in a lyrical elevator

What does MAJOR PROJECT do ?

artistically unanimism embraces toutisme and line-fishing

What does MAJOR PROJECT do ?

artistically neo-classicism discovers the benefits of art

What does MAJOR PROJECT do ?

a r t i s t i c a l l y t h e p a ro x y s m d e v e l o p s t r u s t i n a l l c h e e s e s

What does MAJOR PROJECT do ?

a r t i s t i c a l l y t h e u l t r a i s t re c o m m e n d s m i x i n g t h e s e 7 t h i n g s

What does MAJOR PROJECT do ?

artistically the creationist the vorticist the imagist also propose some recipes

What does MAJOR PROJECT do ?

50 francs reward to the one who finds the means to explain us

MAJOR PROJECT Major Project passes everything through a new net. Major Project is the bitterness that starts laughter in all that we have spent the summer devoted to forgetting, in our language, in our mind, in our habits. It tells you: Behold Humanity and the beautiful fools that were happy until this advanced age.

☞

MAJOR PROJECT HAS ALWAYS EXISTED THE HOLY VIRGIN WAS ALREADY A MAJOR PROJECT STUDENT

☞

MAJOR PROJECT IS NEVER RIGHT Beware of counterfeiters !

These imitators of MAJOR PROJECT want to present MAJOR PROJECT in an artistic form it has never possessed We present to you today in the form of pornography, a vulgar and baroque spirit it is not PURE IDIOCY that is claimed by MAJOR PROJECT BUT DOGMATISM AND PRETENTIOUS IMBICILITY

Paris 12 January 1921. For Further Information

Address to “AU SANS PARIEL” 37, Avenue Kleber.

Tel. PASSY 25-22

MAJOR PROJECT

ruth that t e: e v e i l “I be e fac ly on t n o s violen ha a f o that ion.” adict r cont aille s Bat e g r o Ge

RMIT University Master of Architecture ARCH1337 - Major Project 2021 SEMESTER 1

Major Project Proposal

ED ED RS PE SU

Name: me: Ja Jack MURRAY Student No.: No s3600165 Date : 03/03/ 03/03/2021

Projectt Title:

Violent Contradiction Viole

Research Question: tion:

This project is an experiment iment in criticality as a methodology for design. The process will be one that draws on previous interdisciplinary engagements and associative evious interdiscip methodologies creating complex assemblages. The structure for this series of critical redevelopments begins with the prototypical arc architectural device of a house and a garden, using my own disciplinarity to quickly develop an explorative house/garden design that explores the architecture of narrative interiority/exteriority through the interio es in Against Nature. Nature This will develop through Nautilus and the house of Des Essientes st a series of critiques from other disciplines and “intellectual stakeholders” – with the perimental and improvisatory im project developing or expanding through experimental reactions or acquiescence to each critique.

Brief and Site:

The proposed site is currently undetermined – it matters less to me the location loca of the building than the methodology for its use. Drawing on Robin Mackay ackay and Paul Chaney’s work in site-specific art criticism, the site is considered as a plot, with preexisting material narratives, and its own interiority/exteriority – this will form the basis for the examination of the house/garden program. At this point, the program is simply a jumping off point – an exploration of the domestic as an extension of the personal. The self-reflexive nature of the house and garden, like Neil Spiller’s Communicating Vessels project, or Perry Kulper’s house projects, are entirely representative a subjective experience of my own architectural process as a development of critique.

MAJOR PROJECT

READING NOTES

Reading Notes:

[My house] is diaphanous, but it is not of glass. It is more the nature of vapour. Its walls contract and expand as I desire. At times, I draw them close about me like protective armour... But at others, I let the walls... blossom out in their own space, which is infinitely extensible. Georges Spyridaki, Mort Lucide, 1953

"For Surrealists, the house can be seen as a microcosm of their consciousnesses. Its doors, windows, thresholds, attics, cellars, ceilings and floors as repositories of memories fears and loves. The house is simultaneously a theatre of meditative creative repose and a maelstrom of the defamiliarised uncanny, Neil Spiller, Transcending Geometry, 2018

Some say Marcel Duchamp's The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (1915-23) was first inspired by the Kentish sash windows he encountered while visiting Herne Bay to chaperone his sister who was attending a language summer school there. Neil Spiller, Transcending Geometry, 2018 7 house as locative for technological transformation?

Mies liked the idea that the Farnsworth house was light and essentially consisted of nothing. The houses's second paradox is to do with its relationship to nature. It is perfect, white, clean, and very neat. It can't tolerate the free-ranging spider, the organic detritus of the autumn or the step of a muddy boot. .... The Farnsworth house is also Victorian about it's gizmos. They are not to be seen but are confined in the tight internal 'core' that creates the various open-plan spaces and includes the toilet and kitchen. Neil Spiller, Visionary Architecture, 2006

gizmos as spatial manipulation devices as in slow house, virtual/actual/reality, rescaling visions

The house has got to be fully active in the hyperlinked world, a world whose occupants are actively interpreting and reinterpreting the Rosetta Stone of the NASDAQ landscape. A landscape that is a palimpsest of fluxing information - TV advertisements, annual reports, share prices, and colour coded branding. Neil Spiller, Visionary Architecture, 2006 (on Neil Denari houses)

LOAF HOUSE? Loaf notes. Users manual for the dense surreal architecture

This very temporality reinforces in a Platonic sense our appreciation of the purity of the idea that is encased in this rough worldly fabric. This is precisely the opposite eﬀect of what one experiences when encountering a minimalist or Neo-Modern work, where every flaw in a surface detracts from the idea of the building, revealing indeed how shallow is the essentially pictorial money shot concept of this image based approach to design Leon Van Schaik, Design City Melbourne, "machines that someone is living in" - Lindsay Holland

The very raw, almost wounded materiality of Godsell's buildings, forces us to see the drawing in our mind's eye. Leon Van Schaik, Design City Melbourne,

narrative power of the phrase "A House for ...." investiture of character of occupant prompts the development of architecture that follows from the psychological reality of the occupying character - whether invention or reality. Urmo Mets, Conceivable Houses

Phillip Tabor, "Striking Home", In Occupying Architecture The home of the home is the Netherlands. This idea's crystallisation might be dated to the first three-quarters of the seventeenth century, when the Dutch Netherlands amassed an unprecedented and unrivalled accumulation of capital and emptied their purses into domestic space. Simon Schama, whose thesis on the psychology of the Dutch Golden Age I borrow to introduce this chapter, quotes a contemporary: "in Amsterdam, and in some of the great cities of that small province ... the generality of those that build there, lay out a greater proportion of their estates on the houses they dwell in than any other people upon the earth"

the idea remains that the personal world has a basic spatiality, centred on the self, and that it comprises (a) an interior, where the self resides, and (b) an exterior.

Nonetheless the postulate of a "post-voyeuristic, post-paranoid vision" is provocative, especially given that our primary accounts of the gaze, whether Sartrean, Lacanian, or feminist, are indeed tinged with a paranoia that positions the subject of the gaze as its object-victim as well. Hal Foster, The Art Architecture Complex

post-voyeuristic makes little sense in psychoanalytic terms, for in the Freudian account the exhibitionist is the voyeur in disguise who acts out precisely for his or her own imagined viewing. Hal Foster, The Art Architecture Complex

When men were scattered over the earth, finding their shelter in dugouts or some fissured rock or hollow tree, philosophy taught them to raise up roofs. - Seneca, Quoted in Joseph Rykwert, On Adams House in Paradise

MAJOR PROJECT

German philosophy as a whole ... is the most fundamental form of romanticism and home-sickness that has ever been. ... One is no longer at home anywhere. - Friedrich Neitzche, Will to power pg 225.

"fantasies of flight and the architecture of retreat" - Dieter Roelstraete, Machines a Penser

as seen through the allegorical prism of the hut, or the hut as both a figure of and home for thought.

There exists a long history of thinkers' abodes built on the literal and or metaphorical outskirts of civilisation and/or society -- for that is of course precisely where much philosophy has either long been, or, more pointedly, imagined itself to be most productive ... Et in Arcadia ego

Heidegger's Hut Wittgenstein's Hut Adorno's Hut (via Finlay) Mahler's Cottage, Steinbech Edvard Grieg's cabin, Lofthus Dylan Thomas's shed, Laugharne 9

Malcolm Lowry's shack, Vancouver Virginia Woolf's "Monk's House" cottage, East Sussex Roald Dahl's Gipsy House, Buckinghamshire George Bernard Shaw's shed "London", St Albans Henry David Thoreau's programmatic house, Walden Pondh Antonio Gramsci's prison cell Antonio Negri's prison cell Ted Kaczynski's unabomber cabin Saint Jerome's cave Jean Jacques Rosseau's cabin, Ermenonville Alexander Pope's grotto Voltaire's garden Friedrich Hoderlin's tower, Tubingen Friedrich Neitzches rooms in the Neitzche-haus, Sils Maria Arne Naess hut, Tvergastein Le Corbusier Shack, Roquebrune-Cap-Martin St Jerome's Study St Simeon's Stylite St Augustine's Study

"the hermit is alone before god. his hut therefore, is just the opposite of the monastery. And there radiates about this centralised solitude a universe of meditation and prayer, a universe outside the universe. The hut can receive none of the riches "of this world". It possesses the felicity of intense poverty, indeed it is one of the glories of poverty as destitution increases it gives us access to absolute refuge" Gaston Bachelard, The Poetics of Space

"Wittgenstein was not entirely divorced from human contact, But he was-and perhaps this is most important-away from society, free from the kind of obligations and expectations imposed by bourgeois life, whether that of Cambridge or that of Vienna" - Ray Monk

"[Wittgenstein's] cabin measured 7m by 8m; it's dimensions and simple layout (a living room, kitchen and bedroom) corresponded with that of the area's typical tenant's farm, though the unconventional positioning and gabled roof were somewhat exotic for the befuddled locals, who took to calling the land on which the hut was built "Austria""

"dwelling is the basic character of Being in keeping with which mortals exist" - Martin Heidegger, Building Dwelling Thinking

"tapped into a well established imaginary tradition of opposing the virtues of mountain air to the corrupting miasma of harbours and low-lying metropolises with their roving populations of rootless cosmopolitans of all stripes. The single most powerful summation of this complex, so clearly rooted in Nietzche's Zarathusra and other tropes of 19th-century romanticism, can be found in Thomas Mann's magisterial Bildungsroman the Magic Mountain"

"The hut measures approximately six metres by seven and is made of timber, framed and clad with timber shingles underneath a distinctive roof that is almost as high as the walls...the doors and window panes seemed newly painted in the same deep-bright blue familiar to us"

"it is possible to draw up a floor plan of the hut; a Vorraum with a table and chairs where guests could be served something to drink or eat; a cooking area that also contains a bed; the main bedroom tightly packed with four beds...and the philosophers study, it's bookshelves oddly empty, its window looking out across the eastern end of the valley. The first object to encounter the gaze outside this window ,,,,the well, with its hollowed out log and a wood carved star atop its spout"

Todtnauberg, Paul Celan

"the stage on which the philosopher was able to choreograph the drama of retreat for the camera, for the world's watching eye-escape and exile, in essence, as performance"

"the highest form of morality is not to feel at home in one's own home" - Adorno

One could speculate that Adorno's perfectly nondescript bungalow located on 316 South Kenter avenue is perhaps the closest the cantankerous critic ever got to a hut of his own; it certainly has something of the Hieronuymian desert oasis about it, a perfect "refuge for the homeless" as the title of one of his entries in his acerbic anthology Minima Moralia would have it.

People in the city often wonder whether one gets lonely up in the mountains among the peasants for such long and monotonous periods of time. But it is not loneliness, it is solitude. In large cities one can easily be as lonely as almost nowhere else. But one can never be in solitude there. Solitude has the peculiar and originary power not of isolating us, but of projecting our whole existence out into the vast nearness of the presence [Wesen] of all things. - Martin Heidegger, Denkerfahrungen 1910-1976, "Hüttensein" or cabin being

The cabin-Daesin as heidegger called it, did not merely constitute a pleasant background for his work but became for him an essential element in the experience of thinking. - Charles Bambach, Heidegger's Roots, 2003

The crucial insight is encapsulated in the notion that, as Finlay put it only half-ironically in his "Detached Sentences on Gardening", "garden centres must become the Jacobin Clubs of the new revolution" -- that the garden or the hermit's cave, or the philosopher's hut, the writers cabin or the composers' cottage is not a retreat, it is an attack (words from Alec Finlay, Ian Hamilton Finlay: Selections, 2012)

Isolation and privation - an awayness - became the premise upon which exceptional spiritual access (to divine wisdom or future heavens) was transacted. As Gaston Bachelard said, "the hermit is alone before god". The irreducible unit of the monastery was the cell: a tiny bare room pierced by a small window set high on one wall, through which commune with god could take place. The monastic cell was it's own hut. - Shumon Basar, Machines a Penser 11 Two famous paintings of a studiolo are Antonello da Messina's Jerome in his Study (1475), and Vittore Carpaccio's Saint Augustine in his Study (1502). In both we see abs elaborate constellation of objects, furniture, books, and animals, all deeply recessed into spaces that exclude the outside. For like the hut, the studiolo was an intense cosmos of interiority, one engineered specifically towards rarefied thinking. A retreat into a private zone of worldly knowledge where transformation of the mind, of the soul, was possible. - Shumon Basar, Machines a Penser

On the morning of August 27th, 1965 ... A seventy-seven year old man goes for a swim... by 11am he is found dead, by passers-by, washed up on the beach. Not far away is his "Cabanon", a single room hut with adjoining studio, which he had designed for himself and his wife Yvonne, fourteen years prior. .. and yet the only thing he had built for himself was this tiny looking rustic hut, at Roquebrune-Cap-Martin, on the French Riviera. Measuring a mere 366 x 366 cm in plan and 244 cm in height" - Shumon Basar, Machines a Penser

I can't imagine a so-called accelerationist choosing this as their mythos anymore...perhaps simply choosing to cut oﬀ your Wi-Fi or smashing your phone with a rock will deliver the same results as cultivated removal once did. At this point the hut is no longer made of wood, but rather, the articulated destruction of "here-ness". - Shumon Basar, Machines a Penser

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FIREWATCH!~!!!! fire lookouts as isolation, escape - connection to land, connection to nature, only by radio

sartes keyhole

ISOLATION By condition of Employment ( House for a Lighthouse Keeper ) By condition of Choice (Nemo - House for a Misanthrope ) By condition of Wealth (Des Esseintes - House for a Decadent ) By condition of Faith (La Tourette - House for a Hermit ) By condition of Poetry (Darden - House for Douglas Darden )

CABIN-BEING "FOR SURREALISTS, THE HOUSE CAN BE SEEN AS A MICROCOSM OF THEIR CONSCIOUSNESSES. ITS DOORS, WINDOWS, THRESHOLDS, ATTICS, CELLARS, CEILINGS AND FLOORS AS REPOSITORIES OF MEMORIES FEARS AND LOVES. THE HOUSE IS SIMULTANEOUSLY A THEATRE OF MEDITATIVE CREATIVE REPOSE AND A MAELSTROM OF THE DEFAMILIARISED UNCANNY."

NEIL SPILLER, TRANSCENDING GEOMETRY, 2018

ADORNO HUT, IAN HAMILTON FINLAY

BEING A DIVERSE COLLECTION OF HUTS WEEK 3

MAJOR PROJECT

ADORNO HOUSE

316 S. KENTER AVE, BRENTWOOD, CA

MAJOR PROJECT

4 ADORNO HOUSE

ADORNO HOUSE EXTERIOR (FRONT)

ADORNO HOUSE REAR (TOP), ADORNO HOUSE INTERIOR (BOTTOM)

MAJOR PROJECT

WITTGENSTEIN HUT

SKJOLDEN , NORWAY

MAJOR PROJECT

WITTGENSTEIN HUT

WITTGENSTEIN HUT, 1949

WITTGENSTEIN HUT APPROACH

MAJOR PROJECT

10 WITTGENSTEIN HUT

WITTGENSTEIN HUT FOUNDATIONS (TOP), WITTGENSTEIN HUT REBUILT (BOTTOM)

WITTGENSTEIN HUT EXTERIOR (TOP), WITTGENSTEIN HUT INTERIOR (BOTTOM)

MAJOR PROJECT

WITTGENSTEIN HUT

WITTGENSTEIN HUT MODEL

MAJOR PROJECT

HEIDEGGER HUT

TODTNAUBERG, BLACK FOREST

MAJOR PROJECT

HEIDEGGER HUT

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HEIDEGGER HUT

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HEIDEGGER HUT

MAJOR PROJECT

GODSELL HUT

8 HODGSON ST , KEW

MAJOR PROJECT

GODSELL HUT

MAJOR PROJECT

GODSELL HUT

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GODSELL HUT

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GODSELL HUT

MAJOR PROJECT

GODSELL HUT

MAJOR PROJECT

Kew House - Sean Godsell The house is 18m by 9m and cantilevers 5.5m over a steep slope at the west end of the site. It is constructed from 350 mpa steel which is oxidised and then sealed with a clear primer. The house is divided lengthways. To the north an open plan living space, to the south interconnecting bedrooms and a study. A 7m built in table runs across the east end of the building and has been designed as the hub of life and daily activities in the home. The plan is eastern - one space divided and no corridors. The sentiment of the kitchen table is western - the altar of the family. In this sense the house speculates on the potential emergence of an Australian vernacular born not simply from our European past but equally from our acceptance of our regional reality as part of Asia. The site slopes steeply to the west. The building ignores the slope and addresses the view to the city skyline. The heroic nature of the structure defers to the post war optimism of Melbourne architecture evidenced in suburbs such as Kew, North Balwyn and Beaumaris. Although apparently 'modern' in its language, the house is primordial in its intent - rust, oiled second hand boards, recycled decking and a lack of 'precious' detail combine with rudimentary services to form a house which is elemental rather than processed.

Operable steel shutters shade the north and west elevations. A passive evaporative cooling system takes the prevailing south westerly wind over the grass embankment and under the house where it is introduced via floor vents to the east end of the building. The air is further cooled by fine water mist sprays placed at the top end of the embankment.

GODSELL HUT

Kew Studio - Sean Godsell A freestanding 24 sq m studio constructed to the north of an existing house in Kew. The design of the original house in 1996 assumed a second stage building to be located immediately to the north of the existing house. Over time additions to the neighbouring house to the north and the construction of an entirely new house to the east seemed to consume the outdoor space around the original house and I decided that the only way to oppose this encroachment was to build a monolithic structure that reclaimed control over the scale of the original house and garden. The idea of opposing the (evolved) context extended to the existing house itself so that the new studio is deliberately solid and dark in comparison to the light filled and sunscreen veiled earlier house. The new studio is vertical, the existing house horizontal. The existing and new buildings are connected by their common materiality - oxidised steel and recycled hardwood flooring - but are physically separate. The notion of opposition extends to the direct dialogue between this new tiny tower and the skyscrapers of the Melbourne skyline to the west. The new studio meets the current statutory requirements for sustainable design. It includes a small shower room and pull out bed so that it can be used as a guest room in the future. For now it is used by my son, a university student. I completed the design of this project around the same time as the RMIT Design Hub was completed and it served as a poignant reminder that the power of architecture is independent of scale.

MANUAL FOR THE DEVELOPMENT OF A REBELLIOUS DOMESTIC THEORY THE CRUCIAL INSIGHT IS ENCAPSULATED IN THE NOTION THAT, AS FINLAY PUT IT ONLY HALF-IRONICALLY IN HIS "DETACHED SENTENCES ON GARDENING", "GARDEN CENTRES MUST BECOME THE JACOBIN CLUBS OF THE NEW REVOLUTION" -- THAT THE GARDEN OR THE HERMIT'S CAVE, OR THE PHILOSOPHER'S HUT, THE WRITERS CABIN OR THE COMPOSERS' COTTAGE IS NOT A RETREAT, IT IS AN ATTACK

(WORDS FROM ALEC FINLAY, IAN HAMILTON FINLAY: SELECTIONS, 2012)

ARCHITECTURE WITHOUT ARCHITECTS, BERNARD RUDOLFSKI

BEING A DIVERSE COLLECTION OF POTENTIAL HOUSES WEEK 4

MAJOR PROJECT

KEW HOUSE

8 HODGSON ST , KEW

MAJOR PROJECT

2 3

1 4

7 4

HODGSON ST

KEW HOUSE

KEW HOUSE, 1:150 @ A4

1 - STUDIO LOCATION

4 - BEDROOM

2 - DINING

5 - BEDROOM

3 - LIVING

6 - BEDROOM

ADORNO HOUSE REAR (TOP), ADORNO HOUSE INTERIOR (BOTTOM)

MAJOR PROJECT

HOUSE FOR A RECLUSE

HOUSE FOR A RECLUSE WITHDRAWAL BY CONDITION OF DIFFERENCE

The recluse knows their difference from the world. The child screams “leave me alone”, but the recluse has never stopped screaming this in the quiet places of their mind. They recognise the world as other and construct for themselves a house. The windows open to the sky, but telescope closed towards the street. They have a table in anticipation of company that will never come. The world is that of a Clov. Ten feet by ten feet by ten feet, and on his walls, no naked bodies, no mene mene. The figure of an evacuated window, light filled, but without connection or vision. No mirror but the light of an interior world. The cupboard only opens when the door is closed. A house built bunkerlike to spy on an inferior world.

MAJOR PROJECT

HODGSON ST

HOUSE FOR A RECLUSE

HOUSE FOR A RECLUSE - PLAN, 1:150 @ A4

HOUSE FOR A RECLUSE - SECTION, 1:150 @ A4

MAJOR PROJECT

10 HOUSE FOR A RECLUSE

HOUSE FOR A RECLUSE - AXONOMETIC, NTS

HOUSE FOR A RECLUSE - VIEW 1 - FROM HODGSON ST

MAJOR PROJECT

12 HOUSE FOR A RECLUSE

HOUSE FOR A RECLUSE - AXONOMETIC, NTS

HOUSE FOR A RECLUSE - VIEW 1 - FROM HODGSON ST

MAJOR PROJECT

WITHDRAWAL

SOLITUDE

EXILE

REJECTION

personal rejection of the world-as-world - isolation for the purpose of removing oneself. a radical rejection of the world as such and a creation of an alternative worlding

the state of being alone solitude as a return-tonature, silence as a radical act of not-saying the sayable - recognising the world but being comfortably not part of it

forced isolation or solitude - a condition of being putout-of-place due to circumstances outside the alone one's control - being in the world, but being unheimlich - removed from home, connection to local environment-worlds

a societal exile - an interpersonal kind of aloneness that rests on the world as social, and a recognition of the world as such, but being outside of it

BY CONDITION OF

DIFFERENCE

FAITH

OBSESSION

WEALTH

EMPLOYMENT

CHOICE

ARCHITECTURE

WITHDRAWAL BY CONDITION OF DIFFERENCE

WITHDRAWAL BY CONDITION OF FAITH

WITHDRAWAL BY CONDITION OF OBSESSION

WITHDRAWAL BY CONDITION OF WEALTH

WITHDRAWAL BY CONDITION OF EMPLOYMENT

WITHDRAWAL BY CONDITION OF CHOICE

WITHDRAWAL BY CONDITION OF ARCHITECTURE

THE RECLUSE

THE MENDICANT

THE PROPHET

THE DECADENT

THE SAILOR

THE NUN

THE PRISONER

SOLITUDE BY CONDITION OF DIFFERENCE

SOLITUDE BY CONDITION OF FAITH

SOLITUDE BY CONDITION OF OBSESSION

SOLITUDE BY CONDITION OF WEALTH

SOLITUDE BY CONDITION OF EMPLOYMENT

SOLITUDE BY CONDITION OF CHOICE

SOLITUDE BY CONDITION OF ARCHITECTURE

THE OUTSIDER

THE HERMIT

THE AGORAPHOBE

THE MISER

THE LIGHTHOUSE KEEPER

THE PHILOSOPHER

THE FARMER

EXILE BY CONDITION OF DIFFERENCE

EXILE BY CONDITION OF FAITH

EXILE BY CONDITION OF OBSESSION

EXILE BY CONDITION OF WEALTH

EXILE BY CONDITION OF EMPLOYMENT

EXILE BY CONDITION OF CHOICE

EXILE BY CONDITION OF ARCHITECTURE

THE EMIGRE

THE MARTYR

THE MADMAN

THE OLIGARCH

THE POET

THE PERIPATETIC

THE REFUGEE

REJECTION BY CONDITION OF DIFFERENCE

REJECTION BY CONDITION OF FAITH

REJECTION BY CONDITION OF OBSESSION

REJECTION BY CONDITION OF WEALTH

REJECTION BY CONDITION OF EMPLOYMENT

REJECTION BY CONDITION OF CHOICE

REJECTION BY CONDITION OF ARCHITECTURE

THE DISABLED

THE HERETIC

THE PARANOIAC

THE POOR

THE SEX-WORKER

THE VOLUPTUARY

THE SLUM-DWELLER

WITTGENSTEIN HUT

DIFFERENCE

MAJOR PROJECT

HOUSE FOR A RECLUSE WITHDRAWAL BY CONDITION OF DIFFERENCE

HOUSE FOR AN OUTSIDER SOLITUDE BY CONDITION OF DIFFERENCE

The outsider understands their position in the world as being one of misalignment. The prefixal attachment of outsider marks the figure of The Outsider as being out of alignment with the prevailing wind of disciplinarity. The figure of the outsider artist, or the outsider architect is one of aloneness – connections to communities of disciplinarity (creative-ecologies) occurs only through conscious effort of inserting oneself into a world that one does not naturally connect with. The silence of the outsider is one of speaking against the world from the outside – solitary reflection as a condition of misalignment. The house for an outsider recognises it’s position as a critical outsideness and disconnection, marked only by moments of disciplinary intimacy. It is uphill work.

MAJOR PROJECT

HOUSE FOR AN EMIGRE EXILE BY CONDITION OF DIFFERENCE

The model for the Émigré is that of Adorno, everywhere, the Émigré is alone – their home has been forcibly removed from them and it is a condition of sorrow and unending melancholy. The house is originally conceived to be temporary, a momentary affair. But as time progresses, the house becomes more permanent – while it awaits a return to the homeland, the Émigré will never leave this house. It is a house constantly unfinished, because why finish something you will only need to leave behind when you return home. The local world is not one the émigré feels connected to, because when your bags are always packed to return home, why put down roots?

HOUSE FOR THE DISABLED REJECTION BY CONDITION OF DIFFERENCE

The rejection of the Disabled is a disgraceful act of unworlding. It is a social devolution of the spatial realm into a subset deemed to be accessible. The house for the disabled accepts the conditions of access and radicalises them as a rebellious action against the world. The house takes up space, creating a world that pushes against the bounds of the existing, infiltrating the existing world to create a conspiracy against the “real”.

MAJOR PROJECT

WITHDRAWAL

SOLITUDE

EXILE

REJECTION

personal rejection of the world-as-world - isolation for the purpose of removing oneself. a radical rejection of the world as such and a creation of an alternative worlding

the state of being alone solitude as a return-tonature, silence as a radical act of not-saying the sayable - recognising the world but being comfortably not part of it

a societal exile - an interpersonal kind of aloneness that rests on the world as social, and a recognition of the world as such, but being outside of it

BY CONDITION OF

DIFFERENCE

FAITH

OBSESSION

WEALTH

EMPLOYMENT

CHOICE

ARCHITECTURE

WITHDRAWAL BY CONDITION OF DIFFERENCE

WITHDRAWAL BY CONDITION OF FAITH

WITHDRAWAL BY CONDITION OF OBSESSION

WITHDRAWAL BY CONDITION OF WEALTH

WITHDRAWAL BY CONDITION OF EMPLOYMENT

WITHDRAWAL BY CONDITION OF CHOICE

WITHDRAWAL BY CONDITION OF ARCHITECTURE

THE RECLUSE

THE MENDICANT

THE PROPHET

THE DECADENT

THE SAILOR

THE NUN

THE PRISONER

SOLITUDE BY CONDITION OF DIFFERENCE

SOLITUDE BY CONDITION OF FAITH

SOLITUDE BY CONDITION OF OBSESSION

SOLITUDE BY CONDITION OF WEALTH

SOLITUDE BY CONDITION OF EMPLOYMENT

SOLITUDE BY CONDITION OF CHOICE

SOLITUDE BY CONDITION OF ARCHITECTURE

THE OUTSIDER

THE HERMIT

THE AGORAPHOBE

THE MISER

THE LIGHTHOUSE KEEPER

THE PHILOSOPHER

THE FARMER

EXILE BY CONDITION OF DIFFERENCE

EXILE BY CONDITION OF FAITH

EXILE BY CONDITION OF OBSESSION

EXILE BY CONDITION OF WEALTH

EXILE BY CONDITION OF EMPLOYMENT

EXILE BY CONDITION OF CHOICE

EXILE BY CONDITION OF ARCHITECTURE

THE EMIGRE

THE MARTYR

THE MADMAN

THE OLIGARCH

THE POET

THE PERIPATETIC

THE REFUGEE

REJECTION BY CONDITION OF DIFFERENCE

REJECTION BY CONDITION OF FAITH

REJECTION BY CONDITION OF OBSESSION

REJECTION BY CONDITION OF WEALTH

REJECTION BY CONDITION OF EMPLOYMENT

REJECTION BY CONDITION OF CHOICE

REJECTION BY CONDITION OF ARCHITECTURE

THE DISABLED

THE HERETIC

THE PARANOIAC

THE POOR

THE SEX-WORKER

THE VOLUPTUARY

THE SLUM-DWELLER

WITTGENSTEIN HUT

FAITH

MAJOR PROJECT

HOUSE FOR A MENDICANT WITHDRAWAL BY CONDITION OF FAITH

The mendicant creates for themselves by the instrument of their vow a condition of propertylessness. The house for a mendicant is one of withdrawal from the world through withdrawal from property, their house is an embassy of unworldliness, a spatial non-construct that does not in itself form property. It is an asset without worldly meaning. Any meaning in it is constructed through found-objects and the occupant themselves. A Wunderkammer of donated faiths. The choice to withdraw from the market, to subsist on generosity makes a house for the mendicant a temporary affair. The voiding of the market-world remains. A house halfbuilt to halfexist as a nonasset to await the failure of its presence.

HOUSE FOR A HERMIT SOLITUDE BY CONDITION OF FAITH

The hermit withdraws to be alone in the presence of the divine. Through their unworlding, their solitude is one of belief, connection to some higher sublimity. The house they construct is one of ethereal connection – their solitude seems total to those observing, but for the Hermit, their house is one that inspires connection with otherness and the Outside. Their silence is one of no longer engaging with the world as it appears, aiming for a gnostic connection with a different world. The house opens to the sky and to the earth even as it closes around the world.

MAJOR PROJECT

HOUSE FOR A MARTYR EXILE BY CONDITION OF FAITH

The martyr, while alive, is brutally aware of their own finitude, if they are aware of their martyrhood ahead of time – they are forced into solitude not due to their own circumstance, but due to the unwillingness of their community to acknowledge their eventual end at all. The house for a martyr is one of acknowledging this finitude – acknowledging its own eventual unuse and ruin, as the martyr dies for their cause. In their mind, righteously, their house is one prepared for its own oblivion in much the same way. The leaves creep in through the door and are not swept out. The floors mulch themselves and return to dirt. The gutters and downpipes crack and pour water into the home accelerating it’s eventual end. All this occurs when the condition of occupation becomes null. The cause of the martyr and their death matters less than the house’s knowledge that it will fall into disrepair.

HOUSE FOR A HERETIC REJECTION BY CONDITION OF FAITH

The heretic is rejected by condition of their disciplinary disagreements. They proposed an alternate world, leading to their rejection from the social corpus. A radical departure from the faith – the heretic might have proposed a professional mass-suicide, deregistering those learned professionals from the ranks of their discipline en masse. Or perhaps an additional deity? In any case the house they inhabit is one that seeks to engender that world they proposed in the midst of the world they have been rejected from. The house is built without the profession, without the discipline, as an act of radical disregard.

MAJOR PROJECT

WITHDRAWAL

SOLITUDE

EXILE

REJECTION

personal rejection of the world-as-world - isolation for the purpose of removing oneself. a radical rejection of the world as such and a creation of an alternative worlding

the state of being alone solitude as a return-tonature, silence as a radical act of not-saying the sayable - recognising the world but being comfortably not part of it

a societal exile - an interpersonal kind of aloneness that rests on the world as social, and a recognition of the world as such, but being outside of it

BY CONDITION OF

DIFFERENCE

FAITH

OBSESSION

WEALTH

EMPLOYMENT

CHOICE

ARCHITECTURE

WITHDRAWAL BY CONDITION OF DIFFERENCE

WITHDRAWAL BY CONDITION OF FAITH

WITHDRAWAL BY CONDITION OF OBSESSION

WITHDRAWAL BY CONDITION OF WEALTH

WITHDRAWAL BY CONDITION OF EMPLOYMENT

WITHDRAWAL BY CONDITION OF CHOICE

WITHDRAWAL BY CONDITION OF ARCHITECTURE

THE RECLUSE

THE MENDICANT

THE PROPHET

THE DECADENT

THE SAILOR

THE NUN

THE PRISONER

SOLITUDE BY CONDITION OF DIFFERENCE

SOLITUDE BY CONDITION OF FAITH

SOLITUDE BY CONDITION OF OBSESSION

SOLITUDE BY CONDITION OF WEALTH

SOLITUDE BY CONDITION OF EMPLOYMENT

SOLITUDE BY CONDITION OF CHOICE

SOLITUDE BY CONDITION OF ARCHITECTURE

THE OUTSIDER

THE HERMIT

THE AGORAPHOBE

THE MISER

THE LIGHTHOUSE KEEPER

THE PHILOSOPHER

THE FARMER

EXILE BY CONDITION OF DIFFERENCE

EXILE BY CONDITION OF FAITH

EXILE BY CONDITION OF OBSESSION

EXILE BY CONDITION OF WEALTH

EXILE BY CONDITION OF EMPLOYMENT

EXILE BY CONDITION OF CHOICE

EXILE BY CONDITION OF ARCHITECTURE

THE EMIGRE

THE MARTYR

THE MADMAN

THE OLIGARCH

THE POET

THE PERIPATETIC

THE REFUGEE

REJECTION BY CONDITION OF DIFFERENCE

REJECTION BY CONDITION OF FAITH

REJECTION BY CONDITION OF OBSESSION

REJECTION BY CONDITION OF WEALTH

REJECTION BY CONDITION OF EMPLOYMENT

REJECTION BY CONDITION OF CHOICE

REJECTION BY CONDITION OF ARCHITECTURE

THE DISABLED

THE HERETIC

THE PARANOIAC

THE POOR

THE SEX-WORKER

THE VOLUPTUARY

THE SLUM-DWELLER

WITTGENSTEIN HUT

OBSESSION

MAJOR PROJECT

HOUSE FOR A PROPHET WITHDRAWAL BY CONDITION OF OBSESSION

The obsession of the prophet creates a house divinely convinced of its own success – it is an instrument of belief in their own divinity. Obsessive in its construction it obeys an unknown numerology and is constructed to an order unknown to its designer. The order of the world is rejected in favour of a radical aloneness required by the obsessive otherness of the prophet. A house built in service of a personal divinity.

HOUSE FOR AN AGORAPHOBE SOLITUDE BY CONDITION OF OBSESSION

Fear is the prevailing condition of the agoraphobe. The agora is a space of connection and the unending noise of the sayable – this overwhelming conversation is one that terrifies the agoraphobe into a solitude. The fear is not present in their loneliness, and that alone is a comfort to them. Their house is one of small spaces and nooks, as a space becomes too large it becomes a world and begins to fill itself with the saying and the refrain of the agora. The house opens low down, it is a crawlspace, connection is an instrument of terror, and the solitude of the agoraphobe is one of unfettered joy as the fear dissipates.

MAJOR PROJECT

HOUSE FOR A MADMAN EXILE BY CONDITION OF OBSESSION

The obsession of the madman is one of omnicidal delirium. The world, having removed the madman from their midst in order to preserve social order and prevent the threat of an omnicide from taking place, goes on. The madman is a category of maniac in and of themselves and the condition of their omnicidal directive is reflected in their house. The pyromaniacs house is already aflame, the colossomaniac’s house enters a condition of gigantism and far exceeds the bounds of human scale. The detailed practicum of mania enumerated through the work of Jason Bahbak Mohagegh details the design parameters for the construction of the obsessive maniac’s house. This is an omnicidal dwelling which awaits the manic end of everything.

HOUSE FOR A PARANOIAC REJECTION BY CONDITION OF OBSESSION

Much like the agoraphobe, the paranoiac’s prevailing condition is one of fear. But not a realisable fear. The paranoiac is defined by a non-specific anxiety – and their house reflects this – windows engender a fear of being watched and a fear of the world noticing the paranoiac watching in return. A valley of peeping windows surrounds the paranoiac. This house is not one of comfort – the obsessive unreality of the paranoid individual creates a building where anything, no matter whether intended for comfort or not, conspires against them. In response to this the house encourages a kind of paranoia, but consciously – in order to psychoanalytically allow Pascal to confront his abyss, and to reckon with its unceasing void.

MAJOR PROJECT

WITHDRAWAL

SOLITUDE

EXILE

REJECTION

personal rejection of the world-as-world - isolation for the purpose of removing oneself. a radical rejection of the world as such and a creation of an alternative worlding

the state of being alone solitude as a return-tonature, silence as a radical act of not-saying the sayable - recognising the world but being comfortably not part of it

a societal exile - an interpersonal kind of aloneness that rests on the world as social, and a recognition of the world as such, but being outside of it

BY CONDITION OF

DIFFERENCE

FAITH

OBSESSION

WEALTH

EMPLOYMENT

CHOICE

ARCHITECTURE

WITHDRAWAL BY CONDITION OF DIFFERENCE

WITHDRAWAL BY CONDITION OF FAITH

WITHDRAWAL BY CONDITION OF OBSESSION

WITHDRAWAL BY CONDITION OF WEALTH

WITHDRAWAL BY CONDITION OF EMPLOYMENT

WITHDRAWAL BY CONDITION OF CHOICE

WITHDRAWAL BY CONDITION OF ARCHITECTURE

THE RECLUSE

THE MENDICANT

THE PROPHET

THE DECADENT

THE SAILOR

THE NUN

THE PRISONER

SOLITUDE BY CONDITION OF DIFFERENCE

SOLITUDE BY CONDITION OF FAITH

SOLITUDE BY CONDITION OF OBSESSION

SOLITUDE BY CONDITION OF WEALTH

SOLITUDE BY CONDITION OF EMPLOYMENT

SOLITUDE BY CONDITION OF CHOICE

SOLITUDE BY CONDITION OF ARCHITECTURE

THE OUTSIDER

THE HERMIT

THE AGORAPHOBE

THE MISER

THE LIGHTHOUSE KEEPER

THE PHILOSOPHER

THE FARMER

EXILE BY CONDITION OF DIFFERENCE

EXILE BY CONDITION OF FAITH

EXILE BY CONDITION OF OBSESSION

EXILE BY CONDITION OF WEALTH

EXILE BY CONDITION OF EMPLOYMENT

EXILE BY CONDITION OF CHOICE

EXILE BY CONDITION OF ARCHITECTURE

THE EMIGRE

THE MARTYR

THE MADMAN

THE OLIGARCH

THE POET

THE PERIPATETIC

THE REFUGEE

REJECTION BY CONDITION OF DIFFERENCE

REJECTION BY CONDITION OF FAITH

REJECTION BY CONDITION OF OBSESSION

REJECTION BY CONDITION OF WEALTH

REJECTION BY CONDITION OF EMPLOYMENT

REJECTION BY CONDITION OF CHOICE

REJECTION BY CONDITION OF ARCHITECTURE

THE DISABLED

THE HERETIC

THE PARANOIAC

THE POOR

THE SEX-WORKER

THE VOLUPTUARY

THE SLUM-DWELLER

WITTGENSTEIN HUT

WEALTH

MAJOR PROJECT

HOUSE FOR A DECADENT WITHDRAWAL BY CONDITION OF WEALTH

In determining the alterity of the world, and their condition outside of it – the decadent, having experienced the pleasures of the world, and determining their insufficiency creates a house within which to recreate a world of their own. The motivation for this construction is the seeking of pleasures unknown, not of deviancy or of libido, but of sensation. Eventually, the decadent’s flesh will shear off their ligaments and fall to the ground, scattered ashes will fill the room, and like pharaohs of old – they will be buried with their feasts and sensual perversions. A housetomb for the blistering remains of a seeker. 34

HOUSE FOR A MISER SOLITUDE BY CONDITION OF WEALTH

The wealth of the miser is frozen. A bleak wasteland of money taken into hibernation like a living sarcophagus. The miser wishes to separate himself from the market, not to protect himself from the overwhelming misery of capital, but to prevent his own capital from being withdrawn from him. He fears, just as the agoraphobe fears, but the threat is not worlds, it is loss. Loss of privilege, of means, of meaning. The threat of the world’s semiotic capitalism has seized him, and the arch-conservativism requires him to sequester his capital in order to preserve its meaning. For The Miser, solitude is a requirement against change. Their house is property unchangeable, by means of legal authority granted to him, his house is unable to be removed, and should the market come to call, it will become a tomb for change.

MAJOR PROJECT

HOUSE FOR AN OLIGARCH EXILE BY CONDITION OF WEALTH

The house for an oligarch is secluded only by reason of its occupants status. The house is almost never occupied, acting only as a holding bay for the Oligarchs relationships to power. The house is simply a place to exert influence, wealth is not flaunted, as in the case of the decadent, or hoarded, in the case of the miser, but is strategically deployed in order to influence the world. The Oligarch’s exile from the world is similar to that of the Philosopher – they see the world as outside of themselves, and wish to be able to influence it as separate to their own environment-world. The house acts as their vantage point from which to exert their control. This house is an instrument of domestic soft power, and the Oligarch visits only in order to depart the world to act as a demiurgal external influencer.

HOUSE FOR THE POOR REJECTION BY CONDITION OF WEALTH

A house for the poor is not necessarily social housing, or poorhouses (to repurpose Victorian terminology) – it is a house that recognises the poor as a worthwhile subject of architecture and aims to valorise them as worthy of empathy, and worthy of architectural deliberation in their condition. Architecture cannot solve the social problems of capital that cause and maintain the condition of poverty in its masses. But architecture can exist for and on behalf of them. The House for a Poor Person is in its form, glorious, but at the same time, not patronizing. The house is one of rough-hewn glass, glory, and life.

MAJOR PROJECT

WITHDRAWAL

SOLITUDE

EXILE

REJECTION

personal rejection of the world-as-world - isolation for the purpose of removing oneself. a radical rejection of the world as such and a creation of an alternative worlding

the state of being alone solitude as a return-tonature, silence as a radical act of not-saying the sayable - recognising the world but being comfortably not part of it

a societal exile - an interpersonal kind of aloneness that rests on the world as social, and a recognition of the world as such, but being outside of it

BY CONDITION OF

DIFFERENCE

FAITH

OBSESSION

WEALTH

EMPLOYMENT

CHOICE

ARCHITECTURE

WITHDRAWAL BY CONDITION OF DIFFERENCE

WITHDRAWAL BY CONDITION OF FAITH

WITHDRAWAL BY CONDITION OF OBSESSION

WITHDRAWAL BY CONDITION OF WEALTH

WITHDRAWAL BY CONDITION OF EMPLOYMENT

WITHDRAWAL BY CONDITION OF CHOICE

WITHDRAWAL BY CONDITION OF ARCHITECTURE

THE RECLUSE

THE MENDICANT

THE PROPHET

THE DECADENT

THE SAILOR

THE NUN

THE PRISONER

SOLITUDE BY CONDITION OF DIFFERENCE

SOLITUDE BY CONDITION OF FAITH

SOLITUDE BY CONDITION OF OBSESSION

SOLITUDE BY CONDITION OF WEALTH

SOLITUDE BY CONDITION OF EMPLOYMENT

SOLITUDE BY CONDITION OF CHOICE

SOLITUDE BY CONDITION OF ARCHITECTURE

THE OUTSIDER

THE HERMIT

THE AGORAPHOBE

THE MISER

THE LIGHTHOUSE KEEPER

THE PHILOSOPHER

THE FARMER

EXILE BY CONDITION OF DIFFERENCE

EXILE BY CONDITION OF FAITH

EXILE BY CONDITION OF OBSESSION

EXILE BY CONDITION OF WEALTH

EXILE BY CONDITION OF EMPLOYMENT

EXILE BY CONDITION OF CHOICE

EXILE BY CONDITION OF ARCHITECTURE

THE EMIGRE

THE MARTYR

THE MADMAN

THE OLIGARCH

THE POET

THE PERIPATETIC

THE REFUGEE

REJECTION BY CONDITION OF DIFFERENCE

REJECTION BY CONDITION OF FAITH

REJECTION BY CONDITION OF OBSESSION

REJECTION BY CONDITION OF WEALTH

REJECTION BY CONDITION OF EMPLOYMENT

REJECTION BY CONDITION OF CHOICE

REJECTION BY CONDITION OF ARCHITECTURE

THE DISABLED

THE HERETIC

THE PARANOIAC

THE POOR

THE SEX-WORKER

THE VOLUPTUARY

THE SLUM-DWELLER

WITTGENSTEIN HUT

EMPLOYMENT

MAJOR PROJECT

HOUSE FOR A SAILOR WITHDRAWAL BY CONDITION OF EMPLOYMENT

There are those who go to sea to leave the world, to purge themselves of it. The solitary sailor is one of these. His spatial device for unworlding is the boat – but on land how can this unworlding vessel be realised? The house for a sailor is in constant expectation of departure and of an unhappy reconciliation with the world not of the sea. The sailor is forced into a waiting game, awaiting the circumstances of his departure – dreaming of the sea. Existing in an anticipatory oneiric haze – a house awaiting it’s own departure.

HOUSE FOR A LIGHTHOUSE-KEEPER SOLITUDE BY CONDITION OF EMPLOYMENT

The Lighthouse Keeper is solitary even with others, their mind is not of the world, but of the enchantment of the light. They recall nothing on land – and their house is similarly purposeful. They are mindful of their duty to the exclusion of the world, the sublimity of nature unworlds them over and again. Their house, far from the sea, far from their duty is one of awaiting the call, recalling not the lighthouse itself, but the rhythms and pulsations that it engenders in them. It is a house of routine and the call of elsewhere. It is spatially constructed based on the global condition to the entire exclusion of the local. It is a house for work.

MAJOR PROJECT

HOUSE FOR A POET EXILE BY CONDITION OF EMPLOYMENT

The exile of the poet is one reminiscent of the exile of Ovid. The poet as an individual in the world, through “carmen et error” has been removed from society. Their exile is one of flagrant disregard for the conditions of the world, either through vile indiscretion in service of some creative urge, or via their disregard for the world as it is, in order to imagine a world transformed by some romantic impulse. The house for a poet is one not of segregation from the world, but a house to contain the radical impulses of the resident. While allowing for the work of the carmen to continue, it must also allow the error. It is a house of indiscretion and of Ovid.

HOUSE FOR A SEX-WORKER REJECTION BY CONDITION OF EMPLOYMENT

The sex-worker is exiled by virtue of the world’s inconstant morality, and the house they inhabit is one designed to be seen through a web-cam. The technologists house of the 70s is repurposed as a vehicle for immaterial content. The body-labour of the sex-worker is valorised internally, and expressed externally, without giving away the identity of the occupant. The unworlding of the sex worker is one of a protestant inclination, labour in service of capital is acceptable, labour in service of sin, regardless of relation to capital (and the manifold sins of capital), is equally unacceptable. This house is one designed to world a fantasy through the webcam, and support the life of a labourer outside of it. A luxurious Narkomfin. A Unite d’Habitation with silk sheets and a velour gown.

MAJOR PROJECT

WITHDRAWAL

SOLITUDE

EXILE

REJECTION

personal rejection of the world-as-world - isolation for the purpose of removing oneself. a radical rejection of the world as such and a creation of an alternative worlding

the state of being alone solitude as a return-tonature, silence as a radical act of not-saying the sayable - recognising the world but being comfortably not part of it

a societal exile - an interpersonal kind of aloneness that rests on the world as social, and a recognition of the world as such, but being outside of it

BY CONDITION OF

DIFFERENCE

FAITH

OBSESSION

WEALTH

EMPLOYMENT

CHOICE

ARCHITECTURE

WITHDRAWAL BY CONDITION OF DIFFERENCE

WITHDRAWAL BY CONDITION OF FAITH

WITHDRAWAL BY CONDITION OF OBSESSION

WITHDRAWAL BY CONDITION OF WEALTH

WITHDRAWAL BY CONDITION OF EMPLOYMENT

WITHDRAWAL BY CONDITION OF CHOICE

WITHDRAWAL BY CONDITION OF ARCHITECTURE

THE RECLUSE

THE MENDICANT

THE PROPHET

THE DECADENT

THE SAILOR

THE NUN

THE PRISONER

SOLITUDE BY CONDITION OF DIFFERENCE

SOLITUDE BY CONDITION OF FAITH

SOLITUDE BY CONDITION OF OBSESSION

SOLITUDE BY CONDITION OF WEALTH

SOLITUDE BY CONDITION OF EMPLOYMENT

SOLITUDE BY CONDITION OF CHOICE

SOLITUDE BY CONDITION OF ARCHITECTURE

THE OUTSIDER

THE HERMIT

THE AGORAPHOBE

THE MISER

THE LIGHTHOUSE KEEPER

THE PHILOSOPHER

THE FARMER

EXILE BY CONDITION OF DIFFERENCE

EXILE BY CONDITION OF FAITH

EXILE BY CONDITION OF OBSESSION

EXILE BY CONDITION OF WEALTH

EXILE BY CONDITION OF EMPLOYMENT

EXILE BY CONDITION OF CHOICE

EXILE BY CONDITION OF ARCHITECTURE

THE EMIGRE

THE MARTYR

THE MADMAN

THE OLIGARCH

THE POET

THE PERIPATETIC

THE REFUGEE

REJECTION BY CONDITION OF DIFFERENCE

REJECTION BY CONDITION OF FAITH

REJECTION BY CONDITION OF OBSESSION

REJECTION BY CONDITION OF WEALTH

REJECTION BY CONDITION OF EMPLOYMENT

REJECTION BY CONDITION OF CHOICE

REJECTION BY CONDITION OF ARCHITECTURE

THE DISABLED

THE HERETIC

THE PARANOIAC

THE POOR

THE SEX-WORKER

THE VOLUPTUARY

THE SLUM-DWELLER

WITTGENSTEIN HUT

CHOICE

MAJOR PROJECT

HOUSE FOR A NUN WITHDRAWAL BY CONDITION OF CHOICE

A house built in celebration of a vow taken between individual and divine other. The individual entering the house for a Nun is not yet the Nun, but through occupation with the house, they become the occupant the house was built for. The act of occupation is in itself the solemn vow, a lifetime commitment to the four walls and cloistered central space of the lonely monastery. This is a house built to create its own occupant.

HOUSE FOR A PHILOSOPHER SOLITUDE BY CONDITION OF CHOICE

In developing the conditions of thought, the philosopher decides upon isolation and reflection for their studio. Thought must be, in their mind, conducted alone – in order to aim for an objective and critically disconnected view of the world. To this end their house is an observatory – aiming to be a place of respite from the world, but to connect to it only as the Other-World which the philosopher aims to discover truth in. Like a Platonist philosopher-king, they isolate themselves to better configure their position outside the cave. Their house exists in anticipation of the moment they have discovered truth through dispassionate observation and can return to walk amongst those shades in the world. This event will never occur, though a balconic obsession clusters the sides of their house – the door will never reopen. They will die in this house.

MAJOR PROJECT

HOUSE FOR A PERIPATETIC EXILE BY CONDITION OF CHOICE

Unaligned with the school of Aristotle, the Peripatetic is nomadic, and thus a house for a peripatetic is almost a contradiction in terms. The nomadic house is not simply a moveable architecture, but it is one that encourages the idea of home as a nomadic category. A home, as distinct from the architectural vessel of the house, can be all sorts of things. A home can be in people, places and things, and the house for the wandering intellect is as much a solid point of reference in a moving frame as it is an architectural contradiction. This is a blurry sort of house. It is the creation of a persistent world outside of the world-as-it-is, in order to provide a stationary point in a moving sea.

HOUSE FOR A VOLUPTUARY REJECTION BY CONDITION OF CHOICE

The voluptuary, unlike the sex-worker revels in their rejection – they have chosen this unworlding, and they will not leave. The shock caused by their flagrancy, by their deviancy is world enough for them. Their house is as deviant as they are – the world created is entirely born out of the shock of the voluptuary. The house is as lush and deceitful as they are, it is entirely improper, and overtly loose. Some hedges are untrimmed, some bushes are well maintained, the lawn has been deflowered, and the carpets match the drapes.

MAJOR PROJECT

WITHDRAWAL

SOLITUDE

EXILE

REJECTION

personal rejection of the world-as-world - isolation for the purpose of removing oneself. a radical rejection of the world as such and a creation of an alternative worlding

the state of being alone solitude as a return-tonature, silence as a radical act of not-saying the sayable - recognising the world but being comfortably not part of it

a societal exile - an interpersonal kind of aloneness that rests on the world as social, and a recognition of the world as such, but being outside of it

BY CONDITION OF

DIFFERENCE

FAITH

OBSESSION

WEALTH

EMPLOYMENT

CHOICE

ARCHITECTURE

WITHDRAWAL BY CONDITION OF DIFFERENCE

WITHDRAWAL BY CONDITION OF FAITH

WITHDRAWAL BY CONDITION OF OBSESSION

WITHDRAWAL BY CONDITION OF WEALTH

WITHDRAWAL BY CONDITION OF EMPLOYMENT

WITHDRAWAL BY CONDITION OF CHOICE

WITHDRAWAL BY CONDITION OF ARCHITECTURE

THE RECLUSE

THE MENDICANT

THE PROPHET

THE DECADENT

THE SAILOR

THE NUN

THE PRISONER

SOLITUDE BY CONDITION OF DIFFERENCE

SOLITUDE BY CONDITION OF FAITH

SOLITUDE BY CONDITION OF OBSESSION

SOLITUDE BY CONDITION OF WEALTH

SOLITUDE BY CONDITION OF EMPLOYMENT

SOLITUDE BY CONDITION OF CHOICE

SOLITUDE BY CONDITION OF ARCHITECTURE

THE OUTSIDER

THE HERMIT

THE AGORAPHOBE

THE MISER

THE LIGHTHOUSE KEEPER

THE PHILOSOPHER

THE FARMER

EXILE BY CONDITION OF DIFFERENCE

EXILE BY CONDITION OF FAITH

EXILE BY CONDITION OF OBSESSION

EXILE BY CONDITION OF WEALTH

EXILE BY CONDITION OF EMPLOYMENT

EXILE BY CONDITION OF CHOICE

EXILE BY CONDITION OF ARCHITECTURE

THE EMIGRE

THE MARTYR

THE MADMAN

THE OLIGARCH

THE POET

THE PERIPATETIC

THE REFUGEE

REJECTION BY CONDITION OF DIFFERENCE

REJECTION BY CONDITION OF FAITH

REJECTION BY CONDITION OF OBSESSION

REJECTION BY CONDITION OF WEALTH

REJECTION BY CONDITION OF EMPLOYMENT

REJECTION BY CONDITION OF CHOICE

REJECTION BY CONDITION OF ARCHITECTURE

THE DISABLED

THE HERETIC

THE PARANOIAC

THE POOR

THE SEX-WORKER

THE VOLUPTUARY

THE SLUM-DWELLER

WITTGENSTEIN HUT

ARCHITECTURE

MAJOR PROJECT

HOUSE FOR A PRISONER WITHDRAWAL BY CONDITION OF ARCHITECTURE

The cell of the prisoner is an ultimate reworlding. The oppressive instrument of the state to reconcile difference in it’s populace is created through the instrument of an unworlding device. While the individual contained is able to communicate to the world, and longs to return to it, the condition of their incarceration is the device that resolves their world as Other. This is a house built and unbuilt for each successive withdrawer. The choice to withdraw is not theirs to make. This is a house made to be systematically destroyed.

HOUSE FOR A FARMER SOLITUDE BY CONDITION OF ARCHITECTURE

The sublimity of nature is understood best through an architectural lack. The farmer aims for solitude not in order to escape an intolerable world, but out of a genuine desire for loneliness. While the condition of solitude can be misappropriated as a rejection of the world, for the farmer, the world remains, but they have happily accepted their place outside of it. Their house makes minimal impact on the world, other than subsistence and increasing the available solitude for the farmer to experience. This house is one of wide fields, of rippling streams, and trees uncountable. There is an orange cat on the porch. Et in Arcadia ego.

MAJOR PROJECT

HOUSE FOR A REFUGEE EXILE BY CONDITION OF ARCHITECTURE

The exile of the refugee by architecture is one that the house for a refugee must take a particular critical stance against. The statelessness of the refugee is an unworlding, and the house must act as a reworlding, both in defiance of the state sanctioned removal of worldly ties, but also as a kindness. While not succumbing to cultural white-knighting, the house for a refugee is one of peace. The exile is a condition of the past, and the house must act as a restorative world. One separate from the conditions of the world that brought them to this site, or from the world that caused their unworlding on arrival – it is a house that is designed to not assimilate, to stand resolute in difference and celebrate the world of the inhabitant to the exclusion of all others. This house is an empathetic vessel.

HOUSE FOR A SLUM-DWELLER REJECTION BY CONDITION OF ARCHITECTURE

The architecture of the slum is itself a rejection – a rejection of capital, of architectural professionality, and of the city as a functioning organism of global technocapital. The slum is a rebellious outpost that should not exist. It is an organ of misery that architecture has no hope of solving, only gentrifying, intellectualising, or overtly destroying. When one is a slum-dweller, they are rejected on condition of their architecture. The very display of their home is one of rejection from the world of capital and the bourgeois ideals of the city. The House for a Slum-dweller weaponizes this contradiction in order to maintain its rebelliousness against capital, while allowing the inhabitant dignity. It is an intentional eyesore, it lowers property values, it causes rampant nimbyism, and weaponises an anti-gentrification. It is the gunshot fired to keep property prices low.

GNOSTIC ARCHITECTURE “AUSTERE AND THEATRICAL, THE ACT OF THEORY CROSSES PRACTICE WITHOUT GETTING BOGGED DOWN IN IT; IT DOES NOT BECOME WORLDLY. INCISIVENESS OF THE WING, OF THE PURIFIED TRACT, OF THE INCENDIARY TREATISE, OF MARITIME JOY CROSSING BOUNDLESS MELANCHOLY”

(WORDS FROM GILLES GRELET)

BEING AN ATTEMPT WEEK 5

MAJOR PROJECT

RESEARCH

MAJOR PROJECT

KEW HOUSE

St so n H o dg

You ng St McIntyre P ro p erty 2 Ho dgso n S t re e t , Ke w

McIntyre Partnership

STUDIO

BRIGHT T: 03 9853 4730

Yarra R ive r

River House

MAJOR PROJECT

PRODUCTION

MAJOR PROJECT WITHDRAWAL BY CONDITION OF FAITH

WITHDRAWAL BY CONDITION OF OBSESSION

WITHDRAWAL BY CONDITION OF WEALTH

WITHDRAWAL BY CONDITION OF EMPLOYMENT

WITHDRAWAL BY CONDITION OF CHOICE

WITHDRAWAL BY CONDITION OF ARCHITECTURE

godsell

carmelite

wardle

swinton

mcintyre

edition

corrigan

SOLITUDE BY CONDITION OF DIFFERENCE

SOLITUDE BY CONDITION OF FAITH

SOLITUDE BY CONDITION OF OBSESSION

SOLITUDE BY CONDITION OF WEALTH

SOLITUDE BY CONDITION OF EMPLOYMENT

SOLITUDE BY CONDITION OF CHOICE

SOLITUDE BY CONDITION OF ARCHITECTURE

godsell

carmelite

wardle

swinton

mcintyre

bright

corrigan

EXILE BY CONDITION OF DIFFERENCE

EXILE BY CONDITION OF FAITH

EXILE BY CONDITION OF OBSESSION

EXILE BY CONDITION OF WEALTH

EXILE BY CONDITION OF EMPLOYMENT

EXILE BY CONDITION OF CHOICE

EXILE BY CONDITION OF ARCHITECTURE

godsell

carmelite

wardle

kahn

mcintyre

edition

corrigan

REJECTION BY CONDITION OF DIFFERENCE

REJECTION BY CONDITION OF FAITH

REJECTION BY CONDITION OF OBSESSION

REJECTION BY CONDITION OF WEALTH

REJECTION BY CONDITION OF EMPLOYMENT

REJECTION BY CONDITION OF CHOICE

REJECTION BY CONDITION OF ARCHITECTURE

godsell

carmelite

wardle

swinton

mcintyre

edition

corrigan

WITHDRAWAL BY CONDITION OF DIFFERENCE

HOUSE FOR A RECLUSE

MAJOR PROJECT

Less Description - More Clear [1] Fundamentally, architecture is an apparatus of affect.

[1.1] The word apparatus here is carefully chosen over “device” or “machine” due to it’s Foucauldian connotations, and in particular Giorgio Agamben’s reading of the apparatus as a vortex-like conceptual container that holds anything at all with the power to influence a human beings actions or thoughts. [2] While an architecture might perform exceptional formal manoeuvres or orient itself entirely towards a brusque functionality – both of these are facets of the production of subjective effects.

[2.1] Our experience is shaped by the extensions of our own body, and their interactions with an “other”, the world. In Deleuzian analysis of the work of Francis Bacon, it is understood that art requires there to be a subject who is being affected. [2.2] The art is incomplete without a viewer partaking in the experience. Architecture operates in the same way. 18

[3] The production of effect requires a subject, or an occupant.

[3.1] This occupant cannot be a loose collection of categories or be communicated through an area schedule. The occupant, even fictionally, must exist as their own complete and total being, with attendant psychological features. [4] The occupant is an inhabiting subjectivity – one who has a direct relationship of inhabitation with the architectural apparatus.

[4.1] This project, at least in the beginning – the creation, analysis, and action of these affecting apparatuses is explored through an ideal subjectivity – that of the “character”. [5] If the site of architecture is conceived of as a plot, in that it contains both pre-existing archival narratives that reoccur in the site, and as a web of interconnected conspiracies both recognising the presence of the world and reshaping it, then the figure that occupies this plot, this “stage”, is the character, or the actor.

[6] This provides the project with a literary-conceptual anchor point through which to develop architecture.

[6.1] These characters, whether developed entirely in order to allow operations on an architecture, or whether historical, or anecdotal – are ghostly manifestations within the architecture. There is a haunting occurring, where these ghosts pass through the project, leaving behind their affect, their influence, and the apparatuses that they might engender.

[7] This literary conception of architecture is advanced through a procedural method, following the “hunch” that an architecture of some cultural or psychological complexity might develop.

[7.1] This technique of matrices and libraries of techniques can be explained through the development of an archive – enabling a raiding of the archival material through design to enrich the project, and to add depth to the plot. [8] In developing an architecture of subjectivity and affect, one can recognise that the hauntological characters that inhabit the plot are in a sense, “ideal” occupants, invented as they are by the designer.

[8.1] While the conceptual methodology might be applicable to any occupant, in this circumstance, the agency of the designer allows an “ideal” – to test this theory, the vehicle of the “ideal house” is chosen. [9] An architecture designed for a single occupant as a controlled environment with which to understand the effects of the procedures and literary-conceptual actions.

[10] The ideal house is a perfect subjective apparatus.

[10.1] The occupant develops a singular relationship with their “home”, and the architectural ramifications of this psychological occupation create architectural affect, feeding back into the subjective loop of the occupant. [11] An architecture that does not engage with subjectivity as an operative method is an agnostic architecture.

[11.1] An agnostic world is a world of sufficiency, containing no other horizon save for that of survival. A world without meaning.

MAJOR PROJECT

[11.2] Meaning is produced through the relation of thought to form – form acting as a conceptual container for an idea communicated, like Deleuzian art, to a subject. [12] It is preferable to develop a gnostic architecture, one that engages with a “truth” that is not relative.

[12.1] A Gnostic truth is absolute - formal or without an object. The pursuit of which is a rebellious action against an agnostic world. [12.2] The action of seeking a gnostic architecture, or a gnostic truth is in essence an act of unworlding. Seeking the impossible (absolute) from within the world (relative) requires a certain delirium. [12.3] The emptying of the world in order to ascertain a gnostic truth is described by Gilles Grelet as an angelic act – slipping in his native French from “vie d’ange” (the life of an angel), to vidange (or emptying). This linguistic slip elides heaven and world as a rebellious action akin to that of the Gauche Proleterianne in their “assault on heaven”

[12.4] In describing this “thought-act” of rebellion against the world as rebellion – there is an ontological difference identified between rebellion (a slipping outside the lines of political servitude), and revolution (inscribing a relationship to power within the element of the general mastery they respect). [12.4] This “proletarian gnosis”, as described by Gilles Grelet, is an analogical unfolding – operating through analogy (invention within thought). The goal of which is to “establish a subject and arm it”. Establish a subject within the domain of the gnostic real (as opposed to the agnostic reality), and arm it against reality, meaning the “facts” which appear and make the world. [12.5] Here Grelet makes reference to the Laruellean “generic” man – identifying the “real-man”, as being not defined by the social relations – the overarching “apparatuses” of power (as in Laruelle’s thought this never touches the reality of the individual). But instead identifies this core as melancholy (melancholy is to real-man as divinity is to God). [12.6] The operation envisaged by Grelet is the establishment of a “real” gnostic element within the domain of reality (the world) through a symbolic organon (formula, law, institution, scene, screen, boat) – the last of which forms the basis for his Prolegomena to Brittany (discussed later). This “subjective circumscription” is the “invention of a line finally opened onto infinity, of a body whose very violence of finitude at once and in the same gesture forms a blockage or screen to the world and conditions access to the infinite” (gnostic reality).

[12.7] Grelet finishes his tract with the question “How can we be neither living (client or agent of this whorehouse-world), nor dead (or too quickly lethal particularly for oneself)? Proletarian gnosis, a non-political non-philosophical rebellion against the world offers the solution “be a living-suicide”. “A saint without any glory except some ravaged intensity…Go to the sea” [12.8] The living-suicide of architecture, or of space, is for Grelet, the sea – in going to sea, he identifies a category those who go to sea to quit the world. As in Melville’s Moby Dick, the narrator, Ishmael, identifies the sea and the boat as the spatial apparatus by which to quit the world whenever it begins to weary him. In the same way, it is understood Verne’s Nemo has “quit the world” as an act of rebellion. His angelic existence, like Grelet’s vie d’ange, is described by the narrator as an “archangel of hatred”. [13] The gnostic architecture is one of emptying the world. A scouring clean of the worldly “plot” in order to develop a new plot that aims towards a gnostic infinite.

[13.1] In Prolegomena for Brittany, Grelet offers this, “Emptying the world without substituting anything for it except an abyss, it leaves room for the world to return in the form of miasmas” – he explains that to prevent these abyssal miasmas – one must fall to the “institution” – the ship. [14] The abyss left by the unworlding influence of the gnostic is filled with miasmas, the ghosts of characters without a plot. It is through their interactions and their conflict that a plot develops anew.

[15] A ship is constructed on the site in order to act as the spatial apparatus of gnostic truth, to screen the world, and to carry out Grelet’s command to “go to sea”.

[16] Going to sea is the analogical action that allows for the characters and miasmas to occupy the site.

[16.1] This is a kind of withdrawal from the world, as Grelet puts it in Prolegomena, “There are those who go to the sea to leave the world, to purge themselves of it, and those who annex the sea to the world, socialize it as much as they can”. [16.2] The miasmatical characters withdrawing to the site are those leaving the world, purging themselves of it (gnostic action) – in opposition to an architecture of “reality” or the world, annexing the zone of withdrawal to the world, occupying it in its entirety and eliding the world and outside the world at the same time (agnostic inaction). [17] Proletarian gnosis is a theory-act that allows us to establish an act without practice, a formula without discourse.

MAJOR PROJECT

[17.1] “Austere and theatrical, the act of theory crosses practice without getting bogged down in it; it does not become worldly. Incisiveness of the wing, of the purified tract, of the incendiary treatise, of maritime joy crossing boundless melancholy” [18] The architecture of a gnostic site, of a boat-theory – is one that relies upon the presence of abyssal miasmas to condition it’s passing.

[19] The site that is chosen contains these miasmas, and the maximum amount of worlding reality in order for it to be erased.

[19.1] In identifying the ghostly apparitions that might appear in a gnostic architecture – the site of Sean Godsell’s house begins to loom into focus. Occupied as it is by the figure of his wife, changing in a closet. His son, occupying the evolution of Godsell’s thought next door in the studiolo. Internal familial withdrawal.

[19.2] Expanding out into the surrounds – the historical plot of Finhaven begins to draw in historical and contemporary architectural precedents, all worldly architecture. Agnostic architecture. This takes in Mel Bright’s domestic craft, Peter McIntyre, John Wardle’s building-scale joinery, Peter Corrigan’s city-house in McCartney House, and Edition Office’s Terrace House – as well as the original estates and historical inhabitation.

MAJOR PROJECT

The following is an exploratory process mirroring the structure of Socratic argument intended to find a conceptual framework within which the architectural project will develop. It will engage with the work of Gilles Grelet and his concept of gnosticism as a part of his concept of ‘proletarian gnosis’. Gnosis being an apparatus of thought and action (a thought-act) that aims towards an intensification of existence and a rebellious disdain for the ‘agnostic’ world. [1] Fundamentally, architecture is an apparatus of affect. [1.1] The word apparatus is carefully chosen 1. It is not a device or a machine. The apparatus is a vortex-like conceptual container 2 that holds anything with the power to influence human beings. [2] Whether an architecture performs exceptional formal manoeuvres or orients itself entirely towards a brusque functionality – these are attempts to produce subjective effects. [2.1] For art to be art, it must necessarily affect a subject 3. Architecture is no

different. [3] The production of effect requires a subject, [3.1] The occupant must be a whole agent. [4] The occupant is the subject of the architectural effect. [4.1] The occupant effected by the architecture takes on the ideal subjectivity

of the character. [5] The character as character is necessarily affected by a plot. [6] The character as occupant has agency over the plot. [6.1] The plot contains pre-existing narratives that reoccur, recognising the

presence of the world and reshaping it. [7] This provides the project with a literary-conceptual anchor through which to develop architecture. [8] Architecture within a literary framework necessarily relies on the cultural milieu [9] The architect designs for their character within the plot. [9.1] The architect within the plot is the ideal occupant of the architecture. 1 2 3

Foucault Agamben Deleuze, Logic of Sense

[9.2] In designing for the ideal occupant, the architect designs the ideal house. [10] The ‘ideal house’ reflects the agency of the occupant. [10.1] The occupant develops a singular relationship with their “home”.

[10.2] The architectural ramifications of occupation create architectural affect, and so complete the loop of the occupant. [11] An architecture that does not engage with the agency of the occupant as an operative method is an agnostic architecture. [11.1] “An agnostic world is a world of sufficiency, containing no other horizon

save for that of survival. A world without meaning”. 4

[11.2] Meaning is produced through the relation of thought to form. Where

form acts as a conceptual container for an idea. [11.3] A gnostic architecture is one that engages with an objective truth. [12] It is preferable to develop a gnostic architecture. [12.1] A Gnostic truth is absolute - formal or without an object. The pursuit of

which is a rebellious action against an agnostic world. [12.2] The action of seeking a gnostic architecture, or a gnostic truth is in

essence an act of unworlding. [12.3] Unworlding is a rebellion against the agnostic world. [12.4] Rebellion is a slipping outside the lines of political servitude. [13] A gnostic architecture is one of emptying the world. Within the established literary framework this is a scouring clean of the worldly “plot” in order to develop a new plot that aims towards a gnostic infinite. [13.2] “Emptying the world without substituting anything for it except an

abyss, it leaves room for the world to return in the form of miasmas” 5

[14] The abyss left by the unworlding influence of the gnostic is filled with miasmas. [14.1] Within the established literary framework, these miasmas are ghosts of characters without a plot.

4 5

Proletarian Gnosis, Gilles Grelet Proletarian Gnosis, Gilles Grelet

[14.2] It is through the negative interactions of these ghosts that a plot develops anew. [15] The plotness of the ghostly non-plot creates a zero-sum game in which it is

occupied in its entirety and non-occupied in its non-entity and thus is both inside the world and outside the world at the same time. [15.1] The world is the agnostic real made up of the facts which appear and

make the world. [15.2] The non-plot is a “real” gnostic element within and not within the

domain of reality (the world). [15.3] This simultaneous inside and outsideness of the world is termed gnostic

in action. [16] Architectural gnosis is a theory-act that allows us to establish a non-act. [16.1] An act without practice. [16.2] A formula without discourse. [16.3 “Austere and theatrical, the act of theory crosses practice without

getting bogged down in it; it does not become worldly” [17] The architectural gnosis developed for a non-plot is one that relies upon the presence of ghosts. [18] The non-interactions of these ghostly occupants develop a symbolic organon (formula, law, institution, scene, screen, boat, architecture). [19] The site that is chosen contains these ghosts, and the maximum amount of worlding reality in order for it to be erased. The historical plot of Finhaven begins to draw in historical and contemporary architectural precedents, all worldly architecture. Agnostic architecture. This takes in Mel Bright’s domestic craft, Peter McIntyre, John Wardle, Peter Corrigan’s cityhouse in McCartney House, and Edition Office’s Terrace House – as well as the original estates and historical inhabitation. It takes in ghostly narratives of canoes, garden parties, chicken coops, and Scottish ruins. Architectural gnosis is a non-architecture.

MAJOR PROJECT

WEEK 5 SPEECH

Hi there, I’m Jack Murray.

2. This project is about withdrawal, and the ideal. 5 sketches of a project have been completed to date, each investigating or testing a diﬀerent aspect of the idea of this project. These 5 sketches will be described and reflected on. None of these are the project but through binding together the outcomes and assorted fragments these sketches have engendered, a Gordian knot of the project might emerge.

3. The first sketch occupied a site in Collingwood, a carpark between two buildings, singularly unexceptional.

4. But the site became home to this Gilded Tortoise. A strange agglomeration of instinctual gestures that attained a kind of specificity, and a kind of ideality.

This is the primitive hut of this process. A zero-point for a non-architecture.

6. Out of this sketch came a recognition of the primordial hut as an ideal space of architecture. This is the first instance of solitude, the tomb of Rousseau, the philosopher of solitude, is modelled after the primordial hut. The pursuit of the ideal architecture is a pursuit of singularity and exceptionality, the ideal as understood by this project, is not an ideal of perfection, or an ideal of totalising agency, but one of an intensely private universe of meaning.

7. Godsell’s Kew House, is a kind of ideal, as is every house self-reflexively designed by an architect for themselves. It is at the Kew House that this sketch began, the singularity of Godsell’s architectural idea is played out at every scale, on all sites, in all its rough-hewn purity: it Is a model of the ideal.

8. It is here that the closet door closes behind Godsell’s wife. She has quickly become used to changing in the closet. The closet of Godsell’s Kew House is a kind of monastic cell, equivalent to the cells at San Marco in Florence, where each cell contains one fragment of Fra Angelico’s biblical paintings. Each cell is one moment of a narrative in isolation. The monk withdraws to their cell to cultivate a personal relationship with God. As the ascetic desert fathers did, following the command of Abba Anthony, “Go, sit in your cell, and your cell will teach you everything”

9. The second sketch recreated the Kew House Studio, Godsell’s own Wittgenstein Hut – as a cell, a space for withdrawal. The sketch began to be interested in withdrawal, what it might mean to withdraw from the world, why one might withdraw, and how one might categorise the spatial diﬀerences between solitude, or withdrawal, exile, or rejection.

10. The literary antecedents come from Des Esseintes’s decadent withdrawal of choice, from Captain Nemo’s maritime seclusion, from the hikikomorised central character of Ballard’s Enormous Space. Each receding from the world into an ideal subjective experience. This rejection of the mundanity of the world or of generic experience to create an intensely private spatial experience mirrors the solitude of Rosseau, the bleached solitude of the Desert Fathers, or the long-labours of the withdrawn Solitary Sailor.

11. Godsell has admitted that his favourite building is Corbusier’s La Tourette, and the implication of that construction on Kew House is evident, the line drawn under the horizon, architecture brazenly refusing engagement with the slope beneath it, and within – the monastic cell, in Kew House, a closet where one changes out of sight, in La Tourette the cells of the brothers. The line drawn by the house towards the horizon, just as in La Tourette divides the world into the sky and the earth. The crossing of the line is a necessary but distasteful action, better implied than embraced.

12. The next sketch was my own La Tourette. Ramifying out of the Kew House was an apparatus collaged out of exceptionalities.

13. The site, like Duchamps Large Glass, began to collect dust, sprayed and sealed, began to collect figures and apparatuses, all sealed into the plot.

14. This area of Kew is rich with architectural narratives that began as fodder for the plot. To list a few, the site itself includes Godsell’s Kew House, Peter McIntyre’s village complex, Studio Bright’s oﬃce and John Wardle’s Yarra Bend House, as well as the historical Finhaven estate of real estate magnate John Buchan and his family. There is a memory even of the garden parties that they used to throw. Within a small radius even more start to emerge, John Wardle’s own Kew home, Edition Oﬃce and their River Terrace House, Baracco Wright’s Murphy George House, a Carmelite Monastery, and Peter Corrigan’s McCartney House.

15. While the methodology of Duchampian collage was employed to begin to investigate a formal outcome in this sketch – it was perhaps a seminary for these narratives of withdrawal.

16. The territory of this project began to occupy the boundary of this estate, the depth of this plot in Kew, the figure of a perfect square. In each case, through each narrative of withdrawal came an ideal, conveyed through the domestic, a kind of singularity of experience.

17. The explicit references recede in this fourth sketch as the historical estate begins to take form. A list of programs, houses cut by easements, chicken coops, cow sheds, vineyards, tennis courts, aviaries, summer houses, outdoor bathing areas, fenced paddocks and hedges – all mirroring the interiority and self-suﬃciency of the Carmelite Monastery across the road. It is the creation of a world outside of the world inside the plot.

18. Figuring heavily in this sketch was the swept-path weight of the car accessing the flood plain below. The car is an ideal monks cell, an ideal space for withdrawal. Like a petronomadic Nemo.

19. A Citroen drives up to the Villa Savoye, Corbusier’s ideal house – the road wraps around the house, carving away, penetrating underneath the living spaces. The car is idealised by Corbusier and the figure of the plan is determined by the car – but the house itself is not. Paul Yonnet describes that the driver appropriates for his personal use a part of public space which he occupies, cordons oﬀ and arranges, which he takes care of, dusts and cleans, where he makes his niche and which protects him from the outside, a public space that he privatises and makes into his interior.

20. How then in Corbusier’s ideal architecture, does the car not figure as the central figure of his ideal individualism – what might happen, as here, if the house turns around the car instead. A Sav Blanc that’s gone oﬀ in the heat. It smells slightly of damp, but it might act as a zero-point for a new architectural mode. One of an ideal individual experience.

21. Of a narrative fragmented as if traversed at speed through the bubble window of an old Citroen.

22. Villa Savoye sits in the landscape like an Arcadian tempietto – recalling the solitary Ermeonville island of Rosseau’s tomb.

23. Or Arnold Bocklin’s Isle of the Dead, where for the Symbolists poetry was an excess of language, what is the excess of architecture. These sketches might act as a manual for the construction of the project. This vision of the island seems to recall the final work of Duchamp, Etants donnes, where highly controlled vision of narrative through a peep hole operates in the same way as the paintings of Fra Angelico in San Marco – the collective narrative of the monks biblical considerations is fragmented into individual glimpses.

24. The spatial characteristics of the Large Glass have been extensively examined – but the trajectory that leads from the Large Glass to the Finhaven Estate in Kew, Melbourne is slightly less clear. The site becomes one of fragmented “ideal” experiences. The site is the ideal surface. The archival nature of the Large Glass and the way it collects artistic and spatial matter is equivalent in this project to the plot of the estate – it collects historical narratives, it collects the anxieties of the designer, it collects narrative fragments, ghosts of the past, present, and yet to come.

25. In 1959, Marcel Duchamp writes to his friend Marcel Fogt. On the rear of the letter, Duchamp draws a sketch – titled Du Tignet, a gaslamp illuminating a bare field with a series of hills occupying the background. Years earlier, Duchamp had completed the Large Glass – a dividing line separating the zone of the bride from that of the bachelors and their machinery below. In 1959, another sketch is completed by Duchamp – overlaying the primary elements of the Large Glass onto the landscape of Du Tignet.

26. Suddenly the dividing line of the Large Glass becomes equivalent to the horizon of Du Tignet. The lamp adds itself to the machinery in the bottom panel, the hills to the zone of the Bride – and the Large Glass becomes a landscape. The large glass is a perfect, ideal surface for Duchamp to land other fragments on – as the gas lamp and hills of Du Tignet do in 1959, almost 20 years after the “completion” of the large glass.

27. The idea, a gnostic architecture, an ideal architecture of subjectivity is able to ramify across these programs – like Godsell’s totalising ideal – the idea of gnostic architecture is able to operate at all scales from the site as a Large Glass ideal surface, to the scale of the chicken coop of the Finhaven Estate, as an ideal primordial hut for inhabitation by a feathered biped.

MAJOR PROJECT

FOUR (4) PROJECTS. ONE (1) IDEAL HUT.

IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING THING HING ... WILL ILL LL HAVE HA H VE TAKEN TAK PLACE ... BUT THE PLACE PL LACE .. ... . EXCEPT ... PERHAPS ... A CON CO STELLATION TELLATION ... NOTH NOTHING ... W WILL ILL LL L HAVE TAKEN PLACE ... B BU BUT THE E PLACE ... EXCEPT ... PE P RHAPS HAPS APS S ... A CONSTELLATION . ... NOTHING OTHING I ... WILL W HAVE TAKE TAK N PLACE ... BU BUT BUT UT THE PLACE . ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NSTELLATION ... NOTHING .. ... WILL HAVE TAKEN PLACE ... BUT BUT T THE PLACE ... EXCEPT EXCE EX . ...

AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

WEEK 5 PANEL - JACK MURRAY - S3600165

A SITE IN COLLINGWOOD

AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE E ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE PLA ... BUT THE PLACE ... EXCEPT ...

A GILDED TORTOISE

WEEK 5 PANEL - JACK MURRAY - S3600165

a hut?

a hut

AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING THING ... WILL HAVE TAKEN PLA PLACE ... BUT THE PLACE ... EXCEPT EPT ... .. . PERHAPS PERHAP PE PER S .. ... A C CON ON NSTE STELLA LL LAT L ATION ION N ... NOTHIN NOTHING ... WILL LL L HAVE TAKEN PLACE PL E ... BUT THE HE PLACE E ... .. . EXC EX EXCEPT E ... ... PERHAPS HAPS APS S ... A CONSTELLATIO CONSTE CONS LLATION N . .. .. NOTHING NOTH NO NOT ... WILL HAVE TAKEN TAK N PLA PLACE E . .. .. . . BUT THE PLACE ... EXCEPT T ... PE ERHAPS AP PS ... . A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN KEN PLACE ... . BUT THE T E PLACE ... EXCE EXCEPT ...

IDEA(L): WITHDRAWAL

a tomb

AN ARCHITECTURAL OPERATION ON THE IDEAL WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING THING HING ... WILL WI HAVE TAKEN TAKE TAK PLAC P PLACE L LACE E . ... .. BUT T THE PLACE PLA PLAC .. ... .. . EXC EX XC CEP EPT EP EP PT T ... . PERHAPS P PE ERHA S ... . A CO CON NSTE STELLATION STELLATI ST TE TELLATION ELLATION E LLATION LLATIO L TION TI O ... .. NO NOTHING ING ... W WILL ILL HAVE TAKEN PLACE ... B BUT T THE PLACE ACE ... EXCEPT CEPT ... PE PERHAPS HAPS APS ... ... . A CONSTELLATION CONSTEL CO CONSTELL CONS ST ION N . ... NOTHING ... WILL W HAVE TAKE KEN N PLACE CE ... B BUT T THE PLAC PLA PL CE CE . ... EXCEPT EXCEPT CEPT PT ... . PERHAPS P PE APS PS S ... .. . A CONSTELLATION ONS NSTELLATION N STE STELLATION TELLATIO T ELLATION ELLATION LLATI TI IO I ON ... O . NOTHING ING ... WILL HAVE TAKEN PLACE ... BUT THE TH PLACE ... EXCE EPT ...

i got g t very y used d t changing to h gi g in i th the h closet l t

sean.

IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING THING HING ... WILL ILL HAVE TAKEN PLACE LACE CE ... .. BU B BUT T THE PLACE PLAC ... . EXCEPT XCEPT CEPT ... .. PERHAPS PERHAP APS ... A CON A CONST STELLATION TION ... NOTHIN NOT NOTHING G ... WI ILL L HAVE AVE E TAKEN KEN PLACE ... .. BUT THE H PLACE LACE ACE ... EXCEPT ... P PERHAPS PS S ... A CONSTELLATION CONSTELLATIO T ... NOTHING ... . .. . WILL WILL WI IL IL LL L HAVE H HA A E T TAKEN PLACE ... BUT B THE PLACE E ... EXCEPT XCEPT CEPT ... PERHAPS H ... A CONSTELLATION CON ONSTELLATION STELLAT ... NOTHING NOTHI .. WILL HAVE TAKEN ... K PLACE P AC ... . BUT THE E P PLACE ... EXCEPT PT T ... .

IDEA(L): WITHDRAWAL

WEEK 5 PANEL - JACK MURRAY - S3600165

studiolo

an interloper

kew house

IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL

AN ARCHITECTURAL OPERATION ON THE IDEAL WEEK 5 PANEL - JACK MURRAY - S3600165

withdrawal, my son solitude, my son isolation, my son rejection, my son exile, my son IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING OTHING ING NG ... WILL HAVE TAK TAKEN TAKE E PLACE EN ACE ... BUT ACE BUT THE TH THE E PLACE PL PLAC P A .. . ... .. EXCEPT XC CEPT ... .. ... PER PERHAPS RHAPS HAPS HA APS A PS ... .. .. A CO CON CO STELLATION TELLATION ELLATION LLATION LL LLA LATION IO ... NOTHING NOTH NO OTHING IN .. ... WILL LL L HAVE HA TAKEN AKEN PLACE ... . BUT B THE PLACE P ... EXCEPT EXCEP EXCE CEPT ... . PERHAPS ... .. A CONSTELLATION CONSTELLATI NSTELLATIO LATION TION ON .. ... . . NOTHI NOTHIN NOTHING NO THING HING HI IN NG . ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... . EXCEPT EXCEP XCEPT EPT PT T ... PERHAPS PER PERHA ERHAPS RHAPS ... A CONSTELLATION ELLATION ... NOTHI NOTHING NG G ... . .. WILL ILL LL L HAVE AVE TAKE T TAKEN TA TAK AK N PLACE ... BUT THE PLACE ... EXCEPT ...

addressing the slope

colla(ge) tourette

IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL WEEK 5 PANEL - JACK MURRAY - S3600165

IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL WEEK 5 PANEL - JACK MURRAY - S3600165

collecting dust on an ideal surface

AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

driftwood exceptionalities

AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING ... WILL HAVE TAKEN PLACE ... N .. BUT THE PLACE ... EXCEPT ... . PERHAPS .. ... A CONSTELLATION ... NOTHING .. ... WILL L HAVE TAKEN PLACE PL PL ... BUT THE PLACE LACE ... EXCEPT ... PE PERH RHAPS ... A CONSTELLATION NSTELLAT TE EL ... NOTHING ... WILL HAVE TAKE TAKEN N PLACE ACE ... BUT UT THE PLACE ... EXCEPT ... PERHAPS RHAPS .. ... . A CONSTELLATION LLATION ... NOTHIN NOTHI NOTHING HING NG ... WILL HAVE TAKEN TA PLAC ... BUT THE PLACE E PLACE P ... EXCEPT EXCE EPT ...

WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS ... . A CONSTELLATION N .. ... NOTHI ING I NG N G ... .. WILL LL L HAVE HA TAKE TAKEN PL PLACE L CE . ... .. . BUT THE TH HE E PLACE PLAC PLA ... .. . EXCEPT EX EXCEPT EXCEP CE . ... PE ... ERHAPS RHAPS RHAPS PS S ... . .. A C CONS CONSTELLATIO CO O LATION ION ON N ... NOTHING OTHING THING G ... .. WILL HAVE H VE E T TAK AKE KEN PLACE P ... BUT THE PLAC PLACE ... EXCEPT ... PERHAPS ERHAPS .. ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ...

ǙRLEZIR IWXEXI

estate agency AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING OTHING NG G ... WILL WIL HAVE H VE TAKEN TAK T EN N PLACE LAC CE E ... B BUT THE PLACE PLA PLAC AC ... .. . EXCEPT EXCEPT CEPT ... PERHAPS PERHA ERHAPS R ... .. A CON CO CONSTELLATION TELLATION ELLATION TION ION ON ... .. NOTHING NOTH N ... NOT .. W WILL ILL LL L HAVE AVE T TAKEN AKEN KE EN PL PLACE LA ACE CE E ... BUT BU UT THE TH PL PLACE LACE LACE CE ... EXCEPT EXCE CEP PT ... PE P RH RHAPS HAPS H S ... .. . A CONST CONSTELLATION CONSTELLAT CONSTEL O . ... NOTHING OT ING ... WILL HAVE AV TAKE TA TAK N PLACE LACE CE ... . BUT UT THE PLACE . ... EXCEPT EXCEP PT ... . PERHAPS P RHAPS AP PS .. ... .. A CONSTELLAT NSTELLAT NS L AT TI TION TIO ION ON O N ... ... NOTHIN NOTH NOTHING G ... . WILL LL L HAVE TAKEN KEN PLACE PLAC PLA ... .. BUT . T THE T PLAC PLACE CE ... .. EXCEPT .. ...

WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING OTHING THING ING ... . WILL HAVE H HAV V TAKE TAKEN PLACE TAK T LACE ACE CE ... .. BUT THE PLACE ... .. . EXCEPT XCEPT PT T ... .. PERHAP PERHAPS ... A CO CONSTELLATION TELLATION LLATION LATION TIO ION ... NOTHING ... WILL LL HAVE AVE VE TAKEN PLACE ... BU BUT B THE PLACE CE ... EXCEPT EX ... .. PERHAPS APS PS ... A CONSTELLATION CONSTELLATI LL L .. . ... . NOTHING ... WILL W HAVE TA TAK TAKE TAKEN N PLACE ACE ... BUT THE TH PLACE .. . ... . EXCEPT EXCEPT PT ... PERHAPS HAPS ... . A CONSTELLATION NSTELLATION ELLATION LLATION ON ... NOTHING NOTHIN NOT NOTHI N THING .. ... WILL LL HAVE E TAKEN PLACE PL ... .. BUT T THE HE E PLACE ACE CE ... EXCEPT C EX EXCE ... .. .

robinsons of the road

cab sav? AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE E ... .. . EXCEPT XCEPT CEPT ... PERHAPS ... A CONSTELLATION CE CONS STELLATION TELLATION ELLATION LATION ... NOTHING NG ... . WILL WILL LL L HAVE HA TAKEN PLACE P ... . BUT BU THE HE E PLACE LACE ACE ... EXCEPT ... . PERHAPS PERHAPS APS PS ... A CONSTELLATION E ... . . NOTHING .. OTHING ... WILL HAVE H TAKEN TAKE TAK N PLACE ACE ... BUT BU B THE TH PLACE ... ... EXCEPT XCEPT PT T ... .. PERHAPS ... .. . A CONSTELLATION CONSTELLATION NSTELLATION TELLATION ... .. . NOTHING NOTHI ... .. . WILL ILL HAVE TAKEN TAKE AK PLACE PLA P ... BUT THE PLACE ... EXCEPT ...

WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS PS ... A CONSTELLATION CONSTELLATION ... NOTHING ... WILL WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS PERHAPS ... A CONSTELLATION ... ... NOTHING ... WILL HAVE TAKEN TAKEN PLACE ... BUT THE PLACE ... .. EXCEPT ... PERHAPS ... A CONSTELLATION C NSTELLATION ... NOTHING ... . WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ...

Sǖ WQ QIPP QIPP QI PM MR RK sav bl blan anc an c

‘ide ‘i deal de al l’ AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

WEEK 5 PANEL - JACK MURRAY - S3600165

AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING OTHI TH HI G .. .. . WILL WILL LL L HAVE HA HAV A E T AV TA TAKE TAKEN N PL PLACE P LACE ACE CE E ... .. . BUT .. BU BU UT T THE TH HE E PLACE PL A PLA PL PLAC ACE C CE E ... EXCEPT ... .. .. PERHAPS RH HAP A ... A CON CO STELLATION LLATION LATION ... NOTHING ING ... .. . WILL HAVE AV TA AVE TAKEN T EN P PLACE LACE ... BUT BU THE HE PLACE AC ... ACE .. EXCEPT EXC ... PE PERHAPS HAP PS .. ... A CONSTELLATION C NSTELLATION .. . . NOTHING O ... .. WILL W LL HAVE TAK TA TAKE KE KEN EN PLACE CE ... BUT UT THE T PLACE PL CE .. P . . EXCEPT X T ... .. PERHAPS ... .. ... . A C CONSTELL ONSTELLATION STEL ELLATION LLATION LATION ATI TIO ION I N ... .. .. . NOTHING NO NOTHI NOTHIN N O OTHI OT TH T HING ING NG . .. ... . W WI WILL I ILL LL L L HAVE HA AV AVE VE V E TAKEN TAKE TA T AKEN A KE K EN PLACE PLAC PL P LACE .. LA ... . BUT T THE TH HE E PLACE PL PL LACE LAC ACE ACE E ... .. . EXCEPT E EXC EXCEP EXCE XCEPT XC X XCE CEPT CE C EPT . ... ...

rousseau solitude, ĉREPP]

the car is not the project

et in arcadia ego AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING OTHING THING HIN HING NG . ... WILL HAVE H E TAKEN TAKE A EN N PLACE CE ... B BUT UT T T THE HE PL PLACE E ... . . EXCEPT CEPT PT T ... PERHAPS ERHAPS APS S .. ... A CO CON NSTEL S ELLATION LLATION L TION ... NOTH N NO NOTHING THING THING G .. .. W WILL ILL LL L HAVE VE TAKEN T EN PLACE PL PLAC LACE ... .. BUT TH THE HE E PLACE ... . EXCEPT EXCE E ... .. PE PER RHAPS HAPS APS PS ... . A C CONS CONSTELL CO CONSTELLATION CONSTELLAT STELLATION LAT TIO ON ... NOTHING ON NOTHING HING NG ... . WILL W WIL HAVE TAK TAKE T N PLACE PL CE E ... .. BUT B THE T PLA PL PLACE PLAC ACE CE E ... EXCE EXCEPT XCEPT CEPT C EPT P ... .. .. . PERHAPS PERHAPS ... . . A CO ONSTELLATION NSTELLATION NSTELLATION TELLAT TELLATION ELLA ... . NOTHING NOTH NOT NOTHI NO OTHING ING NG ... N .. WILL ILL LL L HAVE HAV AVE VE TAKEN T PLACE PLAC PL P ... . . BUT UT T THE E P PLA LACE ACE ... ACE .. EXCEPT EXC EX EXCEPT T .. ...

IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL WEEK 5 PANEL - JACK MURRAY - S3600165

NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS PS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... . WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ...

EVRSPH F¹GOPMR

the illuminating gas - a manual

PŬMRǙRMXMJ IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL WEEK 5 PANEL - JACK MURRAY - S3600165

an a ngeli ge g eli lic pl p ot IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL WEEK 5 PANEL - JACK MURRAY - S3600165

MAJOR PROJECT

NOTHING OTHING THING . TH ... .. . WILL WIL W WI IL LL L HAVE HA H HAV AV AV VE E TAKEN TAKE T TA AK KEN PLACE LAC LACE AC ACE CE ... CE .. . . BUT B BU U UT T THE TH T E PL PLACE PLAC PLA PL LACE CE E ... .. EXCEPT CEPT PT T ... . PERHAPS ... . A C CO CON O STELLATION ELLATION LLAT LAT O LATION LA ON N ... NOTHING ... WILL IL LL HAVE HAV AVE VE TAKEN PLACE VE PLA LACE LA A AC ... .. BU BUT BUT TH HE E PLACE PL PLA LA LACE LA AC CE C E ... .. EXCEPT E EXC EXCE EX EXCEP X XCE CE C CEP EPT PT .. ... .. PE PER RHA RHAPS APS AP APS PS ... A CO CONSTELLATION CONSTELLATIO CONSTE CONS CONSTELL CON ELLATION .. CON . . NOTHING NO OTHING ING ... WILL HAVE HAV VE TAKE TAK TA T KEN P PLACE LA ACE CE ... BUT BUT THE PLACE P PLA A ... EXCEPT ... CEPT T ... .. PERHAPS E AP ... .. A CONSTELLATION STELLATION TEL ELLATION ATION TIO TI ON N . .. ... . NOT NOTHI NOTHING NO OTH G ... WILL OT WIL LL HA LL HAVE HAV AVE VE E TAK TA TAKEN TAKEN AKE EN PL EN PLA P PLACE LACE LAC AC CE .. CE . ... BUT THE TH P TH PLACE ... EXCEPT EXCEP EP ...

landscap pe overlay

hori ho rizo ri iz zo on n-li line ne

AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

WEEK 5 PANEL - JACK MURRAY - S3600165

twisted d siste er er

NOTHING OTHING N ... WILL ILL HAVE I H TAKEN PLACE TAK LACE E ... .. BUT T THE H PLACE ... . .. EXCEPT T ... . PERHAPS S ... A CO CONS STELLATION ELLATION LLATION ... NOTHING G ... . WILL LL HAVE VE TAKEN PLACE P ... BUT BU THE PLACE ... EXCEPT XC CE ... PERHAPS HAPS ... A CONSTELLATION CO ONSTELLATIO ... NOTHING ... WILL HAVE TAKE TAK TAKEN N PLACE P CE E ... .. BUT UT THE E PLACE L ... EXCEPT ... .. PERHAPS PERHA . ... A CONSTELLATION NSTELLATION ... NOTHING NOTHIN HI ... W WILL ILL L HAVE HA TAKEN PLACE PLAC ... PL . BUT THE HE PLACE LACE ... L . EX EXCEPT ...

WEEK 5 PANEL - JACK MURRAY - S3600165

et sic in inFINitum

AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

WEEK 5 PANEL - JACK MURRAY - S3600165

AN ARCHITECTURAL OPERATION ON THE IDEAL

IDEA(L): WITHDRAWAL

WEEK 5 PANEL - JACK MURRAY - S3600165

21 JACK MURRAY - MAJOR PROJECT

PANEL KEY 01 02

PROJECT 1 PROJECT 2

03 04

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PROJECT 4

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3 19 9 8

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21 21 WEEK 5

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30 30 38 38 37 3 7 39 35 5

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KEW HOUSE

FIRST PROJECT - IDEAL HOUSE OCCUPYING A CARPARK IN COLLINGWOOD

SECOND PROJECT - COLLAGE LA TOURETTE

THIRD PROJECT - ESTATE FOR THE CAR

OFF-SM OF O F-SM F-SM MELLING SAV BLANC - PLANS

PROJECT 4 - OFF-SMELLING SAV BLANC

SITE DRAWING

DUCH DUCH DU CH HAMP - COLS ALITES

IDEA(L): WITHDRAWAL

AN ARCHITECTURAL OPERATION ON THE IDEAL WEEK 5 PANEL - JACK MURRAY - S3600165

THE GAP DANCE “MEANING DOES NOT COME FROM THE REPRODUCTION OF PRE-EXISTING REALITY AND FROM A CORRESPONDENCE WITH THE REFERENT, BUT FROM THE EVOCATIVE FORCE OF SOUND, AND VOICE, AND RHYTHM”

FRANCO ‘BIFO’ BERARDI, THE UPRISING

THE NATIONAL GALLERY, LONDON VENTURI SCOTT BROWN ARCHITECTS

A POTLATCH WEEK WEEK 7

MAJOR PROJECT

UPPER HOUSE INVERSIOSN

ISO VISTA SOCIAL CLUB

UPPER HOUSE INVERSIONS

MAJOR PROJECT

UPPER HOUSE INVERSIONS

LOWER HOUSE, 1:150 @ A3 GROUND FLOOR

LOWER HOUSE ISOVISTA, 1:150 @ A3 GROUND FLOOR W/ ISOVISTS

MAJOR PROJECT

UPPER HOUSE INVERSIONS

LOWER HOUSE, 1:150 @ A3 FIRST FLOOR

LOWER HOUSE ISOVISTA, 1:150 @ A3 FIRST FLOOR W/ ISOVISTS

MAJOR PROJECT

8 LOWER HOUSE ISOVISTA, 1:150 @ A3 FIRST FLOOR W/ ISOVISTS + ROOMS

LOWER HOUSE, 1:150 @ A3 FIRST FLOOR + ROOMS

MAJOR PROJECT

UPPER HOUSE INVERSIONS

ISO VISTA SOCIAL CLUB

AXONOMETRICS

MAJOR PROJECT

UPPER HOUSE INVERSIONS

LOWER HOUSE, 1:200 @ A3 AXONOMETRIC

LOWER HOUSE, 1:200 @ A3 SECTIONAL AXONOMETRIC

MAJOR PROJECT

UPPER HOUSE INVERSIONS

LOWER HOUSE, 1:200 @ A3 AXONOMETRIC

LOWER HOUSE, 1:200 @ A3 SECTIONAL AXONOMETRIC

MAJOR PROJECT

UPPER HOUSE INVERSIONS

ISO VISTA SOCIAL CLUB

VIEWS

MAJOR PROJECT

HOUSE FOR A RECLUSE

ISOMETRIC BIRDS EYE

ISO VISTA SOCIAL CLUB - VIEW 1 - FROM CORNER

MAJOR PROJECT

20 HOUSE FOR A RECLUSE

ISO VISTA SOCIAL CLUB - VIEW 2 - FUNEREAL BALCONY FOR A DYING PRIEST

ISO VISTA SOCIAL CLUB - VIEW 3 - LOADING DOCK AND TRIPLE WINDOW TITLE GAP

MAJOR PROJECT

22 HOUSE FOR A RECLUSE

ISO VISTA SOCIAL CLUB - VIEW 4 - ENTERING THE COURTYARD WITH LOOS WALL

ISO VISTA SOCIAL CLUB - VIEW 5 - COURTYARD INTERIOR 1

MAJOR PROJECT

24 HOUSE FOR A RECLUSE

ISO VISTA SOCIAL CLUB - VIEW 6 - COURTYARD INTERIOR 2

ISO VISTA SOCIAL CLUB - VIEW 7 - COURTYARD INTERIOR 3 - JOYCE WALL

MAJOR PROJECT

26 HOUSE FOR A RECLUSE

ISO VISTA SOCIAL CLUB - VIEW 8 - COURTYARD INTERIOR 4

ISO VISTA SOCIAL CLUB - VIEW 9 - INTERIOR 1 - WINDOW INVERSION

MAJOR PROJECT

28 HOUSE FOR A RECLUSE

ISO VISTA SOCIAL CLUB - VIEW 10 - INTERIOR 2

ISO VISTA SOCIAL CLUB - VIEW 11 - INTERIOR 3

MAJOR PROJECT

30 HOUSE FOR A RECLUSE

ISO VISTA SOCIAL CLUB - VIEW 10 - INTERIOR 2

ISO VISTA SOCIAL CLUB - VIEW 11 - INTERIOR 3

MAJOR PROJECT

32 HOUSE FOR A RECLUSE

ISO VISTA SOCIAL CLUB - VIEW 12 - INTERIOR 3

ISO VISTA SOCIAL CLUB - VIEW 13 - INTERIOR 4

MAJOR PROJECT

34 GODSELL HUT

ISO VISTA SOCIAL CLUB - VIEW 14 - INTERIOR 5

THE GAP DANCE - REVIEW Hannah Zhu’s work speaks itself into existence. Operating as an exacting examination of territories within which she operates – the project exists almost as anecdote before it exists as any kind of objective, separate creation. Zhu operates within the anecdote as a game, one that designates its own fictive nature, a self-awareness of the narrator, blurring the lines between what is a real architecture, and what is a real description of an unreal architecture. The weight of the drawings, overlaid with these anecdotes carries with it a kind of convincement that determines the truth of the project, entirely separate to any actuality of the site. The evocation of a site is clear enough to determine the site to the reader, without there necessarily being an actual place the project operates on. This seems to be the key of the project, operation in the gaps between what is described and what is real. The use of Joyce’s Ulysses as a literary reference seems to suggest that the narratives that occupy sites construct the site outwards in an almost isovistic manner. The characters of Zhu’s plot move through the site and construct only the architectures necessary to support their role in the anecdote. This leaves gaps. No matter how finely observed the routines of the building occupants, the method of poetic description leaves gaps in the project’s knowledge of the site, and it is in that half space between real and unreal that the gaps begin to form. Gaston Bachelard’s phenomenology and literary criticism seem to suggest a possible way of discussing the operation of Zhu’s methodology. For Bachelard, the poetic method was one of filling gaps. Residual questions leftover from the progress of scientific methodologies. For Bachelard, and I think for Zhu, imprudence is a method. While the drawings and descriptions offered present a reality in scientific detail, the points where the project carries out a line of flight, or a line of escape in the world of the cleaner, are the points where the description falls short, the gaps or the holes left by a totalising scientific description – one of the gap between what Ferdinand de Saussure referred to as langue (the formal structures of language), and parole (the language of speech and evocation). The projects executed by Zhu are a series of refrains, reterritorializing spaces that are deterritorialized by the evocative force of the description. These territorializing projects are seemingly an attempt to embrace poetic languages of metaphors and edge conditions as a way of examining architectural poetics as an unconscious dimension of architectural language – or poetics as an excess of language. This is what might be referred to as the unsayable – what in architecture is unable to be captured by language or by descriptive methodologies. For Zhu this is captured in the performances that are choreographed by architecture, the anecdotes themselves. The unsayability of the priest dying alone in his apartment, of the cleaners fantasies of escape – these are the excess of Zhu’s project. Unable to be captured by the description or by the drawing in their totality, they must be evoked through speech, through Zhu’s own anecdotes.

MAJOR PROJECT

While it might be a criticism of this project that it takes in the rightly identified “awarded” Upper House without dealing with the specific instruments of property or finance that have enabled it – examining only the phenomenological experiences of the architecture that take place within it. This writer would argue that Zhu’s response is one of the only valid responses to the financial class. The hyper-territorialisation of the refrain, the almost manic obsessiveness with which Zhu’s drawings are carried out, are both criticisms of a financial class (of which Upper House is an instrument) – that is entirely deterritorialised. Since the rise of the new financial class after the dot-com boom, there has been an increasing disconnect between the instruments of global finance and specific engagements with place. The previous “upper” class, in a Marxist sense, the bourgeosie were specifically related to the city and to property (hence “bourg”) – however the new financial class are not tied to any physical referents, and like the Symbolistic poets, have emancipated money from its referent. In 2021 the dollar is value decided by an act of language, by an agreement, and to discuss a “value” in architecture, one must also engage with acts of language. The response to the ephemeral deterritorialization of the financial class must be one of territory, and one of communal refrain.

It is here Zhu’s project seems to site itself anew, against this financial class, against this rabid deterritorialising. With the deterritorialising instincts of finance, territory is opened up, and the refrains that might bring that back into a milieu often lean towards those of Fascism – nationalism, individualism, racism. In identifying the anecdotal refrains of the individuals who mark out their territories within and around Upper House, Zhu is identifying a territorial ideology that moves towards one of communal concatenation and occupation of territory as an act of generosity. The tool of the “poetic method” (or as Bachelard describes it, intellectual metaphors) – is one that coopts language as a radical tool of invention and the imaginary – writing becoming for Zhu an “invisible description of thought” where architecture is its visible description and the performance of that description of thought. This gap between the written and the seen seems to be the non-physical site of the project. This is the space of the audience; the production of affect must necessarily include a subjectified participant.

The project also seems to site itself around a quadpartite diagram, namely:

The real production of real affect The unreal production of real affect The real production of unreal affect The unreal production of unreal affect

The examination of how each of these operate might constitute a description of the project as a whole – as it allows a matrix of affect (I would say affect as a Deleuzian critical term rather than effect, affect being for Deleuze the production of meaning in a subject, or an audience). The last aspect of the project that is necessary to touch on is that of the performance – the architecture of performativity is necessarily anecdotal – in that it identifies plots intricately bound up in the life of the speaker, of the evoker – whether true or not, the auto-biographical sense of them is that they are at least true to the narrator, and the truth of the project seems to be less in the colonisation of gaps than in the convincement that those gaps are or could be colonised by further anecdotes. The gaps, the spaces of deterritorialization (only due to lack of descriptive cover rather than financial intent), are wider than the space between the title boundaries. The title boundary as an instrument of property is in itself an act of language, and is bound by the same criticisms as the rest of the semio-capitalism that this project is siting itself within. The written description of the title is in itself a description of the thought of the writer and the affect that it produces is one of property. The language used is the language of exchange – the “title” gives the sense that it is a baronial kind of thing – rather than the crude instrument developed by foreign farmers. The gaps are the gaps in language, not those in the apparatuses (Agamben after Foucault) that surround the property. This week five is the description, the first writing that outlines the territory of the project and the refrains which mark its boundaries. This is the future of the project. The space between the seen and the said mark the performance, how the architecture might come to be enacted in the territories where war-machines lurk. The performance here is as much an architectural design as it is an apparatus of self-examination. One where Zhu’s own descriptions are performed once again and the gaps made apparent. This is the present of the project. The description of the project again is the same process enacted upon itself – once it is becoming-architectural, what anecdotes might fill the space – what happens if the priest’s collar falls into the gaps, if the cleaner lady’s line of flight begins to reach to Morocco and Sudan, if the delivery driver dies on the road outside. These anecdotes might be as true as any other, and the life of the building is not just it’s truths but it’s unrealities as well. The space of possibility is a space of the refrain as much as the space of truth is. This is the past of the project.

What’s done is done and done again.

ROOKERY BOOKERY

PLAZA ESPANA HERZOG AND DE MEURON

A POTLATCH WEEK AND A MINIATURIST FANTASY WEEK 8

MAJOR PROJECT

ZHU

A BRIDGE FOR THE SACRED OBJECT

ZHU ADDITIONAL DRAWINGS

MAJOR PROJECT

4 A BRIDGE FOR SACRED OBJECTS AXONOMETRIC

MAJOR PROJECT

DUCHAMP'S ROOKERY

MAJOR PROJECT

8 DUCHAMP'S ROOKERY

SITE WITH ROOKERY AND KEW HOUSE ALONE AXONOMETRIC

MINIATURIST ENCHANTMENT SKETCH ON TRACE ON PAPER

MAJOR PROJECT

DUCHAMP'S ROOKERY

AXONOMETRIC RENDER

PLAN VIEW

MAJOR PROJECT

12 DUCHAMP'S ROOKERY

AXONOMETRIC RENDER - DUCHAMP'S ROOKERY

VIEW 1 - DUCHAMP'S ROOKERY

MAJOR PROJECT

HOUSE FOR A RECLUSE

VIEW 2 - DUCHAMP'S ROOKERY

DUCHAMP'S ROOK ROOKERY - DETAIL VIEW

MAJOR PROJECT

DEAR MURRAY - HANNAH ZHU Dear Murray, On the count of ten, you will walk out of the house. You will raise from your dreams, feel the winter air bouncing between your walls. You will feel your heart pump more eager than ever, and that pain in your left toe that will never go away.

One. You watch yourself in the mirror. You’ve just noticed how casual it is to see oneself in the mirror. There is no greeting, no suffering, no nothing, purely existing on two sides.

Two. You see in the mirror the ideal image of yourself under the tree. There is no claim of legitimacy from the outside world: no commerce, no property, no exchange… only cognition, only the spots of toothpaste flicked onto the mirror. It is nowhere else… you ARE the sublime.

Three. Putting someone in the house is perhaps not a great response to someone who wants to fleet the house? A model of withdrawal for which the whole world is present in your own room… is perhaps involuntary afterall. Could your anxiety be reduced to the form of a hut? Is this your universe of meaning? Your chest is wet. Violence is everywhere.

Four. In your closet, there it is, the peep hole. What do you see? A biscuit with a peculiar crack. What did you expect? Pornography. You laugh. People are never genuinely interested in anything, most stop before they ever come close to a piece of biblical painting. You laugh again.

Five. What is beyond the pornography? What will you find in the room?

MAJOR PROJECT

Six. The flood has reached the stilts of the house. Everything is foggy. Open the window, you can walk on the horizon. You ARE the dividing line. Things line up in your mind, but here, your view is disturbed. What will you see from the rooftop of Corb’s La Tourette? What will you see from Sean Godsell’s Kew House? From here, you see the chimney tower, a ghost of the richmond factory. A tapered little thing stretching towards the sky, a sad shade of red. In the tower, there’s your own image looking fiercely back at you. Same shaved-head, same glasses. She shouts all of a sudden at you, Murray, Murray! Watch me jump!

Seven. You feel a light-headedness, a heavy weight in your feet. You want to shout back but your voice becomes lower the harder you try. You have come here everyday of your life, thinking how you will jump through the window, how your body will glide through the wind, the air hugging you until you become a little dark spot on the asphalt path. You will become your own sacred object, maybe your own sack of potatoes one day. But you never jumped! You tried to tell her.

Eight. Watch her jump, watch her limbs, half your size, become a hairline mark through the sky, pulling the earth back into itself. Watch her die. Watch her live your life.

Nine. Now you have left the house. Bluestone, granite, steel grates, bike paths, dust. You breathe, you think. You are spared from the world. The world of your own, for a fleeting moment.

Ten.

Zhu 27 April 2021

A Bridge for the Sacred Object m fro Zh

MAJOR PROJECT

u to ay urr M

Peter Brew

Hannah Zhu 601.06 Neighbourhood light

Rough Concrete

Comm. Pit

Rough Concrete

Asphalt Steel

Steel White Paint

home

Water Pit

304.01 Drainage Pit Side Entry with Standard Steel Grate

402.02 Crossing Asphalt Paving at Laneway with Side Pits

Rubber

Bluestone

Stainless Steel 701.01 City Litter Bin

301.01 Bluestone kerb and gutterstone

Granite Smooth Concrete

302.01 Precast concrete kerb exposed aggregate

Steel White Paint

Concrete

Bike Path

Asphalt

Green Paint

Bluestone

201.03 Asphalt footpath paving 201.04 Asphalt Road Paving

Asphalt Elec. Pit

Steel

Gas & Fuel Pit

Steel

Smooth Concrete 401.03 Access Ramp Typical in Asphalt Footpath

Rubber

Hannah Zhu

White Paint Pedestrian Crossing

27 April 2021

for Mr. Murray

vacant lot

for Mr. Murray

lot for sale

home

for her

bridg

vacant lot

for him

farm lot for sale

home

for Mr. Murray

for him

paddock

for him

for her

vacant lot

for her

lot for sale

home

paddock

for her

for him for her

bridge

farm

farm for him for him

river

paddock

for him for her

river

for him

for her

for him

for her

a wall in

return...

Dear Murray,

She shouts all of a sudden at you, Murray, Murray! Watch me jump!

Nobody’s Speech

On the count of ten, you will walk out of the house. You will raise from your dreams, feel the winter air bouncing between your walls. You will feel your heart pump more eager than ever, and that pain in your left toe that will never go away.

1. Hi there, I’m Jack Murray. My site is where I live. 2. This project is about withdrawal, and the ideal. [1] … Sitting up the road - budding against Swanston and Queensberry street; [2] it has a lobby with great ambiance, hidden letterboxes, and two commercial tenants - one a famous korean restaurant and the other a yogurt cup joint. 5 sketches of a project have been completed to date, each invesƟgaƟng or tesƟng a diīerent aspect of the idea of this project. These 5 sketches will be described and reŇected on. None of these are the project but through binding together the outcomes and assorted fragments these sketches have engendered, a Gordian knot of the project might emerge. [3] Its neighbours are an internet cafe and a vacant lot last used as a site office.

One. You watch yourself in the mirror. You’ve just noticed how casual it is to see oneself in the mirror. There is no greeting, no suffering, no nothing, purely existing on two sides. Two. You see in the mirror the ideal image of yourself under the tree. There is no claim of legitimacy from the outside world: no commerce, no property, no exchange… only cognition, only the spots of toothpaste flicked onto the mirror. It is nowhere else… you ARE the sublime. Three. Putting someone in the house is perhaps not a great response to someone who wants to fleet the house? A model of withdrawal for which the whole world is present in your own room… is perhaps involuntary afterall. Could your anxiety be reduced to the form of a hut? Is this your universe of meaning? Your chest is wet. Violence is everywhere. Four. In your closet, there it is, the peep hole. What do you see? A biscuit with a peculiar crack. What did you expect? Pornography. You laugh. People are never genuinely interested in anything, most stop before they ever come close to a piece of biblical painting. You laugh again. Five. What is beyond the pornography? What will you find in the room? Six. The flood has reached the stilts of the house. Everything is foggy. Open the window, you can walk on the horizon. You ARE the dividing line. Things line up in your mind, but here, your view is disturbed. What will you see from the rooftop of Corb’s La Tourette? What will you see from Sean Godsell’s Kew House? From here, you see the chimney tower, a ghost of the richmond factory. A tapered little thing stretching towards the sky, a sad shade of red. In the tower, there’s your own image looking fiercely back at you. Same shaved-head, same glasses.

Eight. Watch her jump, watch her limbs, half your size, become a hairline mark through the sky, pulling the earth back into itself. Watch her die. Watch her live your life. Nine. Now you have left the house. Bluestone, granite, steel grates, bike paths, dust. You breathe, you think. You are spared from the world. The world of your own, for a fleeting moment. Ten. Zhu 27 April 2021

3. The Įrst sketch occupied a site in Collingwood, a carpark between two buildings, singularly unexcepƟonal. [4] But really, its neighbours are [5] ARM, Plus, Hayball, Metier3, and DCM. 4. But the site became home to this Gilded Tortoise. A strange agglomeraƟon of insƟnctual gestures that aƩained a kind of speciĮcity, and a kind of ideality. [6] It is rather… a good architecture: awarded state-wide, nationally and internationally. Today, the announcement of the award sits permanently in the lift cart, as if the prophet’s hair is watching over its shrine. 5. This is the primiƟve hut of this process. A zero-point for a non-architecture. [7] Here, I present to you the other lives of this building. [8] I am a dying priest, a tenant of this building - 6. Out of this sketch came a recogniƟon of the primordial hut as an ideal space of architecture. [8] my funeral is currently held on the balcony of my apartment on the ninth floor; [9] I greet the cleaner lady as I exit the lift - This is the Įrst instance of solitude, the tomb of Rousseau, the philosopher of solitude, is modelled aŌer the primordial hut. [10] she seeks a new life abroad - with her lover - [11] a food delivery driver she met here at the apartment... The pursuit of the ideal architecture is a pursuit of singularity and excepƟonality, the ideal as understood by this project, is not an ideal of perfecƟon, or an ideal of totalising agency, but one of an intensely private universe of meaning. [12] I will stop here - These stories pass… [13] in fact, they are far from productive, so they are unfortunately only for me; but the spaces remain, and I share them with you. [14] This major project concerns architecture as first, a description of the human condition, 7. Godsell’s Kew House, is a kind of ideal, as is every house self-reŇexively designed by an architect for themselves. and secondly, as a way to choreograph its various performances. It is at the Kew House that this sketch began, The human condition, that is, the work, labour and actions performed by us, but more importantly, speech and contemplation.the singularity of Godsell’s architectural idea is played out at every scale, on all sites, in all its rough-hewn purity: it Is a model of the ideal. [15] I attempt to engage with this condition through a series of action-charged spaces throughout this apartment. My earlier attempts at a narrative are metaphoric… And I want to try better. 8. It is here that the closet door closes behind Godsell’s wife. [16] I proceed to describing these performances: the architecture for the tenant and the architecture for the cleaner lady; She has quickly become used to changing in the closet. [17] and, largely within her territorial control, the architecture for the dumpsters; The closet of Godsell’s Kew House is a kind of monasƟc cell, equivalent to the cells at San Marco in Florence, where each cell contains one fragment of Fra Angelico’s biblical painƟngs. [18] the architecture for the laneway - over a 10-year-period, [19] and the bike paths, also over 10 years; Each cell is one moment of a narraƟve in isolaƟon. [20] the architecture for the gap between the title boundaries; The monk withdraws to their cell to culƟvate a personal relaƟonship with God. [21] the

architecture for the homeless man who occasionally sleeps in the lobby couch; As the asceƟc desert fathers did, following the command of Abba Anthony, [22] and the architecture for the food delivery driver. “Go, sit in your cell, and your cell will teach you everything” [23] And what if we subtract the architecture… ? 9. The second sketch recreated the Kew House Studio, Godsell’s own WiƩgenstein Hut – as a cell, a space for withdrawal. What if this building is awarded for all this instead? The sketch began to be interested in withdrawal, what it might mean to withdraw from the world, why one might withdraw, and how one might categorise the spaƟal diīerences between solitude, or withdrawal, exile, or rejecƟon. What if this was the brief for the building instead? But most importantly, how do we extract the value of all this in a productive manner? The challenge for this project is less a recognition for such things, [24] but more so the methodology for distinguishing ‘the real production of real effect’ from what is merely a set of ‘conventional consequences’, 10. The literary antecedents come from Des Esseintes’s decadent withdrawal of choice, from Captain Nemo’s mariƟme seclusion, from the hikikomorised central character of Ballard’s Enormous Space. and further from that, how do we as architects have an appropriate relationship with these effectsEach receding from the world into an ideal subjecƟve experience.This rejecƟon of the mundanity of the world or of generic experience to create an intensely private spaƟal experience mirrors the solitude of Rosseau, the bleached solitude of the Desert Fathers, or the long-labours of the withdrawn Solitary Sailor. - ‘appropriate’ as in, not submissive nor destructive, but something that derives and sustains life. [25] The way I’m engaging with this difficult task is thinking through words. 11. Godsell has admiƩed that his favourite building is Corbusier’s La ToureƩe, and the implicaƟon of that construcƟon on Kew House is evident, At this stage I use words, speech, language, stories, parables, simile, metaphor interchangeably, the line drawn under the horizon, architecture brazenly refusing engagement with the slope beneath it, and within – the monasƟc cell, in Kew House, a closet where one changes out of sight, in La ToureƩe the cells of the brothers. but I would like to move beyond the exclusive nature of these stories and invest in other operative aspects of words. The line drawn by the house towards the horizon, just as in La ToureƩe divides the world into the sky and the earth. The crossing of the line is a necessary but distasteful acƟon, beƩer implied than embraced. [26] Logos, translated to both ‘speech’ and ‘reason’ makes humans human. 12. The next sketch was my own La ToureƩe. The power of description is apparent even in the most humble of words, when I utter, ‘please come over’, something changes in the order of things. Ramifying out of the Kew House was an apparatus collaged out of excepƟonaliƟes. [27-film] What is also mysteriously powerful is how language, such a volatile thing is stablised through stories - 13. The site, like Duchamps Large Glass, began to collect dust, sprayed and sealed, began to collect Įgures and apparatuses, all sealed into the plot. - and i wonder if such unpredictable things I’m dealing with can be choreographed like words. My hunch here is: [28] can architecture also utter and encapsulate? 14. This area of Kew is rich with architectural narraƟves that began as fodder for the plot. [29] Having observed various half-programs on-site, I move from the architecture of ‘description’ to an architecture of ‘performance’. To list a few, the site itself includes Godsell’s Kew House, Peter McIntyre’s village complex, Studio Bright’s oĸce and John Wardle’s Yarra Bend House, as well as the historical Finhaven estate of real estate magnate John Buchan and his family. [30] I attempt to shuffle its content, [31] identifying contradicting spaces, and then formalising them. There is a memory even of the garden parƟes that they used to throw. Within a small radius even more start to emerge, John Wardle’s own Kew home, EdiƟon Oĸce and their River Terrace

COOKED BOOK C’EST LE REGARDEUR QUI FAIT LE TABLEAU

MARCEL DUCHAMP

MEXICO CITY CODEX OVERLAY MAP

ART HISTORY IS NOT ARCHITECTURE, JACK WEEK 9

MAJOR PROJECT

ZHU

ALL TOGETHER PASSIONATELY

ORIGINAL ITALIAN TITLE OF THE SOUND OF MUSIC - THE HILLS ARE ALIVE...

MAJOR PROJECT

4 ALL TOGETHER NOW AXONOMETRIC

ALL TOGETHER NOW AXONOMETRIC

MAJOR PROJECT

6 ALL TOGETHER NOW VIEWS

FOUL SMELLING CAB SAV + DUCHAMP'S ROOKERY VIEW

MAJOR PROJECT

8 ALL TOGETHER NOW VIEWS

ALL TOGETHER NOW AXONOMETRIC

MAJOR PROJECT

DUCHAMP'S ROOKERY

SEAN'S GOD CELL

MAJOR PROJECT

DUCHAMP'S ROOKERY

THE PASSION GLASS AXONOMETRIC

DADA SPITS OUT EVERYTHING ORIGINAL DOCUMENT

MAJOR PROJECT (The Signitaries of this manifesto live in France, America, Spain, Germany, Italy, Switzerland, Belgium, etc. but have no nationality

DADA STIRS UP ALL

What does DADA do ?

artistically neo-classicism discovers the benefits of art

HAS DADA EVER TOLD YOU :

S YE S

DADA

What does DADA do ?

a r t i s t i c a l l y t h e p a ro x y s m d e v e l o p s t r u s t i n a l l c h e e s e s

What does DADA do ?

a r t i s t i c a l l y t h e u l t r a i s t re c o m m e n d s m i x i n g t h e s e 7 t h i n g s

What does DADA do ?

artistically the creationist the vorticist the imagist also propose some recipes

What does DADA do ?

THE GOVERNMENT

DADA

has no fixed idea.

DADA

Dada passes everything through a new net. Dada is the bitterness that starts laughter in all that we have spent the summer devoted to forgetting, in our language, in our mind, in our habits. It tells you: Behold Humanity and the beautiful fools that were happy until this advanced age.

☞

doesn’t catch flies.

OVERTHROWN. BY WHO? BY

DADA

The futurist is dead. Of what? Of DADA

S YE

What does DADA do ?

50 francs reward to the one who finds the means to explain us

NEVER NEVER NEVER doesn’t speak.

What does DADA do ?

artistically unanimism embraces toutisme and line-fishing

B U T .......

S YE

What does DADA do ?

DADA knows everything. DADA spits out everything.

What does DADA do ?

A young girl commits suicide. Because of what? Because of DADA We contact the spirits. Who is it? The Inventor? DADA We march on our feet. That is DADA If you have serious ideas about life, NO If you make artistic discoveries and if all of asudden your head is seized with fits of laughter if you discover all your ridiculous and useless ideas, know that

IT IS DADA THAT BEGINS TO SPEAK TO YOU

DADA SPITS OUT EVERYTHING TYPOGRAPHIC TRANSLATION BY AUTHOR

DADA

HAS

ALWAYS

EXISTED

☞ THE HOLY VIRGIN WAS ALREADY A DADAIST

DADA IS NEVER RIGHT Beware of counterfeiters !

Paris 12 January 1921. For Further Information

Address to “AU SANS PARIEL” Tel. PASSY 25-22 37, Avenue Kleber.

DUCHAMP'S ROOKERY

DUST RAISING MAN RAY

MAJOR PROJECT

DUCHAMP'S ROOKERY

HANDMADE STEREOPTICON SLIDE MARCEL DUCHAMP

MAJOR PROJECT

DUCHAMP'S ROOKERY

THE LARGE GLASS COMPLETED MARCEL DUCHAMP

MAJOR PROJECT DIAGRAMMATIC INTERPRETATION OF THE LARGE GLASS AS COMPLETED (IN ARTURO SCHWARZ ED., MARCEL DUCHAMP: NOTES AND PROJECTS FOR THE LARGE GLASS, LONDON: THAMES AND HUDSON, 1969, PP.12–13)

THE BRIDE’S DOMAIN (UPPER HALF OF THE GLASS): 1. BRIDE (OR PENDU FEMELLE, VIRGIN, SKELETON). 2. BRIDE’S GARMENT. 3. REGION OF THE GILLED COOLER (ISOLATING PLATES). . 5. TOP INSCRIPTION (OR MILKY WAY). 6. DRAFT PISTONS (OR NETS). 7. NINE SHOTS. 8. REGION OF THE PICTURE OF CAST SHADOWS. 9. REGION OF THE MIRROR IMAGE OF THE SCULPTURE OF DROPS. 10. JUGGLER OF GRAVITY (ALSO CALLED THE TRAINER, HANDLER, OR TENDER OF GRAVITY).

4. HORIZON

THE BACHELOR APPARATUS (LOWER HALF OF THE GLASS): 11. NINE MALIC MOULDS (OR EROS’S MATRIX) FORMING THE CEMETERY OF UNIFORMS AND LIVERIES. 11A. CUIRASSIER. 11B. GENDARME. 11D. DEPARTMENT STORE DELIVERY BOY. 11E BUS BOY. 11F. PRIEST. 11G UNDERTAKER. 11H. STATION MASTER. 11I POLICEMAN. 12. CAPILLARY TUBES. 13. REGION OF THE WATERFALL. 14. THE WATER MILL. 14A. WATER WHEEL. 14B. CHARIOT (OR SLEIGH, OR GLIDER). 14C. RUNNERS SLIDING IN A GROOVE. 15. CHOCOLATE GRINDER. 15A. LOUIS XV CHASSIS. 15B ROLLERS. 15C. NECKTIE. 15D. BAYONET. 15E. SCISSORS. 16. SIEVES (OR PARASOLS, WITHIN ARE THE DRAINAGE SLOPES). 17. REGION OF THE BUTTERFLY PUMP. 18. TOBOGGAN (OR CORKSCREW, OR SLOPES OF FLOW). 19. REGION OF THE THREE CRASHES (OR SPLASHES). 20. MOBILE WEIGHT WITH NINE HOLES. 21. OCULIST WITNESSES. 21A, B, C, OCULIST CHARTS. 21D [MANDALA] (SHOULD HAVE BEEN A MAGNIFYING GLASS TO FOCUS THE SPLASHES). 22. MARBLE. 23. BOXING MATCH. 23A. FIRST RAM. 23B SECOND RAM. 24. REGION OF THE SCULPTURE OF DROPS. 25. REGION OF THE WILSON-LINCOLN EFFECT.

DUCHAMP'S ROOKERY

THE LARGE GLASS DIAGRAM MARCEL DUCHAMP

MAJOR PROJECT

22 DUCHAMP'S ROOKERY

EXHIBITION INVITATION FOR EXHITION IN WHICH DUCHAMP'S CHESS PROBLEM IS POSED

FROM RICHARD HAMILTON'S TRANSLATION OF THE GREEN BOX - LARGE GLASS AS AGRICULTURAL

CHASING CONSEQUENCES C’EST LE REGARDEUR QUI FAIT LE TABLEAU

MARCEL DUCHAMP

WHITE TO PLAY AND PLAY AND PLAY AND PLAY WEEK 10

BLISTERING EXCHANGE (TO BE LOOKED AT FOR CLOSE TO 15 MINUTES) C’EST LE REGARDEUR QUI FAIT LE TABLEAU

MARCEL DUCHAMP

WHITE TO PLAY AND PLAY AND PLAY AND PLAY WEEK 10

ME TO PLAY C’EST LE REGARDEUR QUI FAIT LE TABLEAU

MARCEL DUCHAMP

WHITE TO PLAY AND PLAY AND PLAY AND PLAY WEEK 10

ENDGAME C’EST LE REGARDEUR QUI FAIT LE TABLEAU

MARCEL DUCHAMP

WHITE TO PLAY AND PLAY AND PLAY AND PLAY WEEK 10

MAJOR PROJECT

BB 514

CC 514

MAJOR PROJECT

DD AA BB 514 CC 514

DD MAJOR PROJECT

MAJOR PROJECT

AA BB 514 CC 514

MAJOR PROJECT

DUCHAMP'S ROOKERY

A BRIEF HISTORY OF THE PROJECT

MAJOR PROJECT

THE GILDED TORTOISE This was an exercise in automatic architecture. I employed a site in Collingwood, a backlot with minimal inherent meaning – and used it parasitically to create a similarly intentionless object that begins to generate meaning. It is a combination of a found object (the site) and a habitual architectural expression.

THE PHILOSOPHER’S CELL This week was a research exercise examining retreats constructed by philosophers to withdraw from the world in order to cultivate thought. This week also introduced Sean Godsell’s Kew House as a site of consideration – containing as it did a “studiolo” or space from withdrawal. This week drew connections between Wittgenstein, Heidegger, Adorno, and Godsell.

MAJOR PROJECT

THE RECLUSIVE REWRITER This project reconstructed the Kew House Studio as a house for one of 28 archetypal characters of withdrawal. The expression of the architecture was less important than the development of a system by which to examine withdrawal as a narrative concern. It also gave rise to a sense of the Kew House as able to become a site for narrative operation.

THE COMBINATORIAL OFFERTORY This week expanded the site to include the sites of “exceptional” architecture that seemed to litter the area – discovering the monastic site of Peter McIntyre, Studio Bright, John Wardle, the Carmelite Monastery over the road, and Peter Corrigan’s McCartney House – using the formal language of these local exceptionalities, a collaged architecture implying Le Corbusier’s La Tourette was developed.

MAJOR PROJECT

THE PETRONOMADIC AHAB This week modified the previous weeks collaging to develop an architecture around the car as a technological site of withdrawal. Mirroring architectural specificities developed in the collaged architecture, it attempted to reframe them on the flood-plain. An architecture on stilts and asphalt preparing to be washed away.

FOUL-SMELLING CAB SAV Taking the car from the previous week as a beginning point, this week modified the architectural direction of iconic architectural exceptionality, Corbusier’s Villa Savoye, as an inversion. Taking the car swinging around the house literally, and making the house swing around the car. The stretching and squishing of the house’s iconic form into a shape resembling the U-House made for a fairly interesting and interior facing architectural form.

MAJOR PROJECT

THE UPPER HOUSE INVERSIONS This week was a project swap with Hannah Zhu, occupying her site at Upper House, an inverted architecture was developed whereby internal spaces, colonised by Zhu with narrative, were turned into the external courtyard spaces of the new Upper House, with the blank walls facing the street turning the building inwards.

THE WIFE’S ESCAPE In Hannah Zhu’s translation of my project – the ideal square of the site is abandoned. A street from the CBD is stretched into a bridge for escape to an idyllic agricultural setting down the road. The architect’s wife leaves the house and removes herself, passing through the architectural interventions, the remains of the Upper House Inversions.

for him

for her

MAJOR PROJECT

THE DUCHAMP ROOKERY Taking the Kew House’s proportions to cut a segment from the overlaid site drawings – the Rookery reclaims the estates aviary as a site for birds, and uses a pun to connect the intervention to Duchamp’s Rook – from the chess set he designed in Buenos Aires. A folly, completed quickly, in order to allow for discussion of Duchamp.

THE PASSION GLASS This project combines all previous projects onto the same site – including overlaying the Large Glass, the Week 5 Anxious Drawing, Du Tignet, and the Estate Plans. Through this collaging exercise and codex like redrawing onto the site, various analyses of the previous adjacencies can be drawn out – the line of escape from Hannah’s project snaking into the site – the Kew House as the object of Bridal Desire, combining with the Combinatorial Offertory and the Bride of Duchamp. The Petronomadic Ahab joins with the Bachelor Machine, and the sense of the Large Glass as an agricultural machine (as Duchamp describes it) is realised in its combination with the site, and with the horizon line of Du Tignet.

MAJOR PROJECT

WEEK 10 SPEECH

Hi there, I’m Jack Murray.

2. Michael, I’d like to present to you my major project. Titled Endgame it is a failure. It has attempted to swallow the world and I have only managed to swallow eighty-nine things, a chess set, and a small crow. 3. Christine, I’d like to present to you my major project. Titled Chasing Consequences. It is a sustained inquiry into knee-jerk responses. 4. For the previous 10 weeks, I have responded, like a bad chess player, only to the move immediately prior, with no view of the whole game. Each week responded to the consequences or imputations of the prior week’s project. 5. This project circles around the ideal square boundary of the historic Finhaven Estate on the banks of the Yarra, currently home to Sean Godsell’s Kew House, Peter McIntyre’s river complex, and a whole host of other architectural doyens. I developed an obsession with Godsell’s home as a model of an architectural ideal of withdrawal from the world and it’s contingency. 6. The project, week by week, collected associations and references – a fragmentary narrative of philosopher’s mountain retreats, ideal arcadias, and the tomb of Jean Jacques Rousseau. All collated and filtered through the prismatic site.

7. The point reached now, at week 10 is a kind of stopping point. I don’t think this is the major project, any more than any of the other 10 projects were the definite article. They’re all a project that is major in some way – a depth of genuine curiosity pressing forward into an architecture. The project now relates a reconstruction of Sean Godsell’s Kew House into a combined mass of a monastery for the withdrawing characters who’ve occupied the prior weeks, a kind of architectural figment. 8. The project takes the Kew House, 8 metres by 13, and cores it out of the larger site to the north, before reinvesting it with a kind of specificity. 9. The joinery of Godsell’s own house collapses into the new corner in a kind of blur, ramifying further, micro-scale consequences – the bend of a window, the chest of drawers bisected by the wall. 10. This house could be lived in, by Godsell, in some world in which this ideal site plays host to an ideal architecture, with an ideal lover. And a city on the hill. 11. Sam, Danielle, I’d like to present to you my major project. Titled Blistering Exchange, it is an attempt to manipulate the methodology of artist Marcel Duchamp in order to apply his work and its strangenesses to a site in Kew through a series of cultural exchanges. 12. The project began with an associative interest in this series of drawings, whereby a sketch on the back of a letter to a friend – is overlaid with the large glass – the “horizon” of the glass becoming a literal horizon, 13. The landscape underneath the Bride becoming a precursor to Duchamp’s final work, Etants Donnes. 14. Duchamp remarked once that it is the ‘properly informed’ viewer that makes the artwork, and in this project, it is the viewer that makes the architecture – whether that is you as the critic, Godsell as the occupant, or the witnessing of Hannah Zhu to the internal workings of this machine in week 7 as we swapped projects. 15. A Duchampian pun, a slippage of Godsell to god’s cell – allows for the entry of the monastic to this project, a withdrawing, fragmentary narrative.

16. It also takes in a personal occupational narrative of Godsell’s wife, sick of changing in the closet due to the Kew House’s lack of blinds. Similar to Duchamp chaperoning his sister and seeing the sash windows of Kent triggering the development of the Large Glass. 17. In week 7, Hannah Zhu writes an allegorical narrative about the escape of the architects wife to a cottage near the vineyard down the river. If we take that narrative to refer to Godsell’s wife, sick of changing in the closet, Godsell becomes an unmarried man, a bachelor, and his house, described as a “machine that someone is living in”, becomes a bachelor-machine – eliding the large glass and the site as one and the same. A semantic game, but a productive one 18. The object on the hill, a manic amalgamation of architecture, becomes Godsell’s object of desire, a new bride, and is imprinted upon his own window, 19.

Connecting the two and leaving traces of their passage out of the closet.

20. This relationship between the two is architectural as well as metaphorical – the bachelor-machine is a core taken out of the bride and developed in all it’s consequences. 21. Tim, I’d like to present to you my major project. Titled Me to Play, it is a research project into the nature of a major project, and the ongoing game of architectural enquiry. 22. Famously Marcel Duchamp posed a chess problem deemed to be unsolvable, called White to Play and Win – albeit there is a generally accepted solution. This project is an unsolvable chess problem left on your doorstop – the only options you have are to attempt a solution, to play the game, or to walk by and forget the strangeness of chessboard on the doorstep. 23. The sense of Major Project as articulated by Vivian is to set yourself up for ten years of practice, and I have a sense people are watching to see if that’s even possible. It doesn’t seem to be, except for a rare few. 24. But with every week, the chess problem that is major project moves from being “White to Win in 5” to “White to Win in 50” to “White to win in 500” – a slippery slope of moves, with consequence after consequence. 25. This project doesn’t achieve any resolution other than itself, it swallows the world and designs around the edges, in order to respond to a central void. An uncertainty about what architecture is, and what it should be. 26. Because it should be everything, a genuine curiosity and excitement about the ways in which architecture comes to be. I want that to be true. 27. Jack, I’d like to present to you my major project. Titled Leave me Alone, it is an attempt to respond to my own anxieties. Anxiety is an ontological condition whose object is nothingness. A fear has a definite object and I am not afraid. But I am anxious. The nothingness at the centre of a major project. Every week has been major in it’s own way. 28. To step back from the project for a moment, it is fundamentally about the idea that architecture, and that major projects are not singular – they are read and invested in by every person who views them, and each person finds something they can invest in within the project – it doesn’t need to be the whole project. Just a corner. That’s major enough. 29.

Thank you.

NOTHING OTHING ... WILL HAVE T TAKEN PLACE LACE ... BUT THE PLAC PLACE ... EXCEPT ... PERHAPS ... A CON CO STELLATION ... NOTHING ... W WILL ILL LL HAVE TAKEN PLACE ... BUT THE PLACE LACE ACE E ... EXCEPT ... PE P PERHAPS RHAPS HAPS APS ... .. A CONSTELLATION . ... NOTHING ... OTHING ING ... .. .. WILL W HAVE TAK TAKEN PLACE ... BUT THE PLACE ... TA ... EXCEPT XCEPT ... PERHAPS PE ... A CONSTELLATION STELLATION ... NOTHING NOTHIN NOT ... WILL HAVE TAKEN AKEN PLACE ... BUT THE PLACE ... EXCEPT ...

AT WHAT VELOCITY DID SHE COME OFF THE WICKET ?

THE TENTH WEEK

WHITE TO PLAY AND PLAY AND PLAY AND PLAY AND PLAY AND PLAY AND PLAY AND PLAY AND PLAY AND PLAY AND PLAY AND PLAY WEEK 10 PANEL - JACK MURRAY - S3600165

FOR MICHAEL

ENDGAME

WEEK 10 PANEL - JACK MURRAY - S3600165

NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT X ... PERHAPS ... A CONSTELLATION ... NOTHING H ... WILL L HAVE TAKEN PLACE ... BUT THE PLA LA ACE ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE E ... BUT BU THE PLACE CE .. ... EXCEPT C ... PERHAPS ... A CONST ONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT BUT THE PLACE ... EXCEPT ...

PROJECTING PROJECTS

FOR CHRISTINE

CHASING CONSEQUENCES

WEEK 10 PANEL - JACK MURRAY - S3600165

NOTHING ... WILL HAVE TA TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... . PERHAPS S .. ... A CONSTELLATION ... NOTHING ... WILL LL HAVE TAKEN PLACE PLA PL ... BUT THE PLACE ACE ... EXCEPT ... PE PERHAPS RH ... A CONSTELLATION NSTELL TEL TE ... NOTHING THING ... WILL HAVE TAKE TAKEN N PLACE ACE .. ... BUT THE PLACE PLA PLAC CE .. .. EXC EXCEPT EX EXCE CEPT PT ... PERHAPS ... A C CONSTELLATION ONSTELLATION STELLATION LLATION ... NOTHING NO NOT ... WILL HAVE . AVE TAKEN PLACE ... BUT BUT THE PLACE LACE ... EXCEPT EXCE . ...

FOR CHRISTINE

CHASING CONSEQUENCES

WEEK 10 PANEL - JACK MURRAY - S3600165

NOTHING ... .. . WILL LL HAVE LL VE E TAKEN TAKE PLACE TAKE TA ACE ... BUT BUT THE T PLACE P PLAC ACE A CE C E ... .. . EXCEPT ... PERHAPS S ... A CONST STELLATION S T IO I ON ... NOTHING ON G . ... WIL ILL LL HAVE TA LL TAKEN A AKEN AK PLACE ... BUT B T THE THE TH HE PLACE P PLA LACE ACE CE E ... . EXCEPT EXCE EXCEP EPT T ... . .. . PE PER ERHAPS ... .. A CONSTELLATION CONSTELLA CONSTELL EL LL L LAT LA ATI IO ON .. ... . NOTHING NOTH NOTHI ING ... ... WILL WI HAVE TAKEN PLACE ... BUT THE PLACE LACE ACE . AC .. .. EXCEPT EX E X XC CE EPT PT P T ... PERHAPS RHAPS ... A CO ON ONSTELLATION ONSTELL NSTELLATION N STELLATION TE L ION N ... NOTH NOTHI NO NOT NOTHI OT TH HIN H ING ING G ... .. W WILL WI IL ILL LL L HAVE HAV HA HAV AV TA TA K KEN E EN N PLACE PLA LAC ... BUT THE E PLACE ... EXCEPT T ... .

ǙRLEZIR IWXEXI

FOR TIM

ME TO PLAY

WEEK 10 PANEL - JACK MURRAY - S3600165

FOR CHRISTINE

CHASING CONSEQUENCES

WEEK 10 PANEL - JACK MURRAY - S3600165

COLLAPSING JOINERY

EX-SIT TING EX-SISTING WEEK 10 PANEL - JACK MURRAY - S3600165

A NEW HOUSE FOR GOD

FOR CHRISTINE

CHASING CONSEQUENCES

WEEK 10 PANEL - JACK MURRAY - S3600165

VISCOUS REALITY CC 514

BB 514

CC 514

BB 514

FOR CHRISTINE

CHASING CONSEQUENCES

NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE E ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS ... A CONSTELLATION CONSTELLATIO TION T IO ON ... ... NOTHING NOT OTH TH THI HING ... WILL HAVE TAKEN TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE PLA ... BUT THE PLACE ... EXCEPT ...

F OT FL TSA SAM A SAM AN ND J JE ETS ETS TSA AM M

...SELL CHASING CONSEQUENCES

FOR CHRISTINE WEEK 10 PANEL - JACK MURRAY - S3600165

CHASING CONSEQUENCES

FOR CHRISTINE WEEK 10 PANEL - JACK MURRAY - S3600165

E LMPP MR JVERGI BLISTERING EXCHANGE (TO BE LOOKED AT FOR CLOSE TO 15 MINUTES)

FOR SAM AND FOR DANIELLE WEEK 10 PANEL - JACK MURRAY - S3600165

BLISTERING EXCHANGE (TO BE LOOKED AT FOR CLOSE TO 15 MINUTES)

FOR SAM AND FOR DANIELLE WEEK 10 PANEL - JACK MURRAY - S3600165

NOTHING OTHING THING IN NG . ... . WILL LL HAVE E TAKEN TA TAKE AKE EN PLACE ... . . BUT BU BU UT T THE THE H PLAC P PLACE CE ... . ... EXCEPT EXCEPT EPT PT T ... . PERHAPS APS S .. ... . A C CON NSTELLATION STELLATI STELL TELLATION ELL TION T ON N ... NOTHI NO NOT NOTHING OTHIN NG ... . WILL LL L HAVE TAKEN N PLACE P PL LACE E ... .. .. BUT B BU THE TH HE E PLACE CE ... . EXCEPT EXCEPT T ... .. . PE ERHAPS RHAPS APS ... .. A CONSTELLAT CONS CONSTELLATION C CON ON NSTELLATION STE TELLATION ELLATI LAT TI T IO ON N . ... NOTHING OTHING TH NG G ... .. . WILL W LL L HAVE TAKE TAK T TA N PLACE LACE LA ACE CE E ... .. . . BUT B THE TH PL PLA PLAC PLACE PLACE AC CE .. . . EXCEPT XCEPT CEPT EPT ... EPT .. . PERHAPS APS A PS S ... ... A C CONSTELLATION ONSTELLATION ON NSTELLATION NS STELLA TELLATION TELLAT T ON ... NOTHIN N NOTHING NOTHI OTHI ... .. WILL ILL LL L HAV HAVE VE TAKEN VE K N PLACE PL PLAC PLA PLACE ... . BUT T T TH THE HE P PLACE PL L LA A ACE CE ... EXCEPT EXC EXCEP EXCE EXC XCEPT EP PT ... PT ..

NOTHING OTHING ... WILL WIL HAV AVE TAKEN PLACE CE ... B BUT THE PLACE ... EXCEPT ... PERHAPS RHAPS ... ... A CON C CO ONSTELLATI STELLATION LL ON N ... NOTHING ... WILL HAVE HAVE TAKE TAKEN PLACE ... BUT THE PL PLACE LACE ... EXCEPT ... PE ERHA RHAPS APS ... A CONSTELLATION CONSTELLATIO . CONSTELLA ... NOTHING G ... WIL WILL LL HAVE TAKEN TAKEN PLACE E ... BUT THE PLACE ... EXCEPT ... PERHAPS PS S ... ... A C CONSTELLATION STELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT BUT T THE E PLACE ... EXCEPT T ...

arnold böcklin

it is the viewer that makes the artwork

XLI MPPYQMREXMRK KEW E QERYEP

PŬMRǙRMXMJ FOR SAM AND FOR DANIELLE

BLISTERING EXCHANGE (TO BE LOOKED AT FOR CLOSE TO 15 MINUTES)

WEEK 10 PANEL - JACK MURRAY - S3600165

NOTHING ... WILL HAVE TAKEN PLACE CE ... BUT THE PLACE ... EXCEPT XCEPT ... .. . PERHAPS PERHAP PER APS ... . ... A C CON O ON NST TE EL ELLA LLA LL LATION ATION ION ... NOTHIN NOTHING ... . WILL LL HAVE TAKEN PLACE PLA ... BUT THE PLACE P ... .. . E EXCE EXCEPT ... .. PERHAPS S ... .. A CONSTE CONSTELLATION ATION N .. . . NOTHING NOTH ... WILL HAVE TAKEN TAKEN PLAC P ACE CE ... ... BUT B THE PLA PLACE ... EXCEPT ... P PERHAPS AP PS ... . A C CO ONSTELLATION NS ... NOTHING ... WILL HAVE TAKEN KEN PLACE ... . BUT THE PLACE ... EXCE EX EXCEPT ...

FOR SAM AND FOR DANIELLE WEEK 10 PANEL - JACK MURRAY - S3600165

NOTHING THING HING NG ... WILL HAVE TAKEN TAKE T PL E . PLAC PLACE ... .. . BUT T THE PLACE PLA PLAC .. ... EX EXC XC CEP EPT EPT ... EP . PERHAPS P PE ERHA S ... . A CO CONSTE STELLATION STELLATI ST TE T ELLATION ELLATION ELLAT LLATIO TI ION O ... . NO NOTHING ING ... W WILL ILL HAVE TAKEN PLACE ... B BUT T THE PLACE ACE ... EXCEPT CEPT ... PERHAPS HAPS APS ... ... . A CONSTELLATION CONSTEL CO CONSTELL CONS ST ION N . ... NOTHING ... WILL W HAVE TAKE KEN N PLACE CE ... B BUT T THE PLA PLAC PL C CE E . .. .. EXCEPT EXC XCEPT . ... .. PERHAPS PE A PER ... . A CONSTELLATION ONS ONST NSTELLATION N STELLATION STE TE TELLATION ELLATION LLATI TI IO I ON ... . NOTHING ING ... WILL HAVE TAKEN PLACE ... BUT THE TH PLACE ... EXCE EPT ...

M KSX ZIV] YWIH M K X ] H X XS GLERKMRK MR L KM K M XL XLI GPSWIX L P X

GIP

K RŬW

BLISTERING EXCHANGE (TO BE LOOKED AT FOR CLOSE TO 15 MINUTES)

WIE

FOR TIM

ME TO PLAY

WEEK 10 PANEL - JACK MURRAY - S3600165

for him for him

paddock

for him for her

bridge farm

river

WQEPP HVE[MRK HIWGVMFMRK XLI IWGETI SJ XLI [MJI SJ XLI EVGLMXIGX GSQTPIXIH F] LERREL ^LY

BLISTERING EXCHANGE (TO BE LOOKED AT FOR CLOSE TO 15 MINUTES)

QEVO QEVOMRK IWGETIW FOR SAM AND FOR DANIELLE WEEK 10 PANEL - JACK MURRAY - S3600165

ME TO PLAY

FOR TIM WEEK 10 PANEL - JACK MURRAY - S3600165

FEGLIPSV QEGLMRI FVMHEP GSQTPI\

[MRHS[ XVEGIW ME TO PLAY

FOR TIM WEEK 10 PANEL - JACK MURRAY - S3600165

XLI FVMHIŬW IWGETI

for Mr. Murray

vacant lot

home

lot for sale

for her

ME TO PLAY

FOR TIM WEEK 10 PANEL - JACK MURRAY - S3600165

[LMXI XS TPE] ERH [MR ME TO PLAY

FOR TIM WEEK 10 PANEL - JACK MURRAY - S3600165

ME TO PLAY

XLI SGGYPXMWX [MXRIWW ME TO PLAY

FOR TIM WEEK 10 PANEL - JACK MURRAY - S3600165

XLI WQEPP LSYWI XSFSKKER ME TO PLAY

FOR TIM WEEK 10 PANEL - JACK MURRAY - S3600165

NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ... PERHAPS ... A CONSTELLATION ... NOTHING ... WILL HAVE TAKEN PLACE ... BUT THE PLACE ... EXCEPT ...

XLI WMIZIW

HIWMVMRK QEGLMRIW

MAJOR PROJECT FOR TIM

ME TO PLAY

FOR TIM

ME TO PLAY

WEEK 10 PANEL - JACK MURRAY - S3600165

ER\MSYW ER\MSYW ER\MSYW ER\MSYW ER\MSYW ER\MSYW ER\MSYW ER\MSYW ER\MSYW ER\MSYW ER\MSYW ER\MSYW ER\MSYW ER\MSYW ER\MSYW LEAVE ME ALONE (PLEASE DON’T)

VIEH ERH VIEH EKEMR

GSHI\MGEP

FOR MYSELF WEEK 10 PANEL - JACK MURRAY - S3600165

FOR MYSELF

LEAVE ME ALONE (PLEASE DON’T)

WEEK 10 PANEL - JACK MURRAY - S3600165

TPIEWI WXST XEPOMRK NEGO

LEAVE ME ALONE (PLEASE DON’T)

FOR MYSELF WEEK 10 PANEL - JACK MURRAY - S3600165

WHITE TO PLAY AND PLAY AND PLAY AND PLAY AND PLAY AND PLAY AND PLAY AND PLAY

PURSUIT OF AN ARCHITECTURE WEEK 10 PANEL - JACK MURRAY - S3600165

COEUR SAMPLES I HAVE FORCED MYSELF TO CONTRADICT MYSELF IN ORDER TO AVOID CONFORMING TO MY OWN TASTE.

MARCEL DUCHAMP

GORDON MATTA-CLARK

BRINGING IT TOGETHER WEEK 12

MAJOR PROJECT

ZHU

DOGMATISM AND PRETENTIOUS IMBECILITY

A PRESENTATION OF PORNOGRAPHY: VULGAR AND BAROQUE

MAJOR PROJECT

4 CLIPPED PORTION AXONOMETRIC

CLIPPED PORTION PLAN VIEW 1:150 @ A4

MAJOR PROJECT

6 KEW HOUSE CORE SAMPLES PLAN

KEW HOUSE CORE SAMPLES AXONOMETRICS

MAJOR PROJECT

8 CORE SAMPLES VIEWS

CORE SAMPLES VIEWS

MAJOR PROJECT

10 CORE SAMPLES VIEWS

CORE SAMPLES VIEWS

MAJOR PROJECT CORE SAMPLES VIEWS

PRECEDENTS 1. HEJDUK NINE SQUARE 2. LIBESKIND THESIS 3. GORDON MATTA-CLARK 4/5. LOAF HOUSE, BEN NICHOLSON

MAJOR PROJECT

14 COLLAPSED HOUSE PLAN

COLLAPSED HOUSE AXONOMETRIC

MAJOR PROJECT

16 COLLAPSED HOUSE VIEWS

COLLAPSED HOUSE VIEWS

MAJOR PROJECT

18 COLLAPSED HOUSE AXONOMETRIC ELEVATIONS

COLLAPSED HOUSE VIEWS

MAJOR PROJECT

20 COLLAPSED COMPLEX PERSPECTIVE VIEW

COLLAPSED COMPLEX VIEWS

OVERLAPPING COLLAPSED COMPLEX VIEWS

MAJOR PROJECT

22 COLLAPSED COMPLEX ISOMETRIC VIEW

WEEK 10 SITE ISOMETRIC VIEW

MAJOR PROJECT

24 EVACUATED SITE ISOMETRIC VIEW

WEEK 12 SITE ISOMETRIC VIEW

MAJOR PROJECT

MAJOR PROJECT FOH

RL -0.75

RL +0.00

RL +1.12

GALLERY A

RL +0.56

GALLERY B

RL +1.12

RL +0.00

33 GOODS LIFT

RL +4.75

ARCHIVES GALLERY AND STORAGE E

RL +3.78

RL +3.50

RL +4.40 GALLERY D

RL +0.00

RL +1.12 GALLERY C

LIFT

RL +3.07

STORE

GALLERY A

RL +0.56

RL +0.00

GALLERY B

RL +1.12

RL -0.75

LOADING DOCK RL +9.20

GOODS LIFT

STORE RL +7.00

RL +7.00

GALLERY J RL +7.00 RL +8.00

GALLERY H

RL +3.78

RL +7.00

STORE RL +6.50

RL +3.78

LOBBY B

RL +7.5

OFFICES

RL +6.50 RL +3.78

GALLERY G

RL +3.50

RL +4.40

GALLERY D RL +0.00

RL -0.75

RL +7.75

RL +1.12

GALLERY C

RL +6.75

RLRESIDENCE +6.75 ARTIST

LIFT

FUNCTION ROOM RL +7.75

RL +3.07

GALLERY B

RL +1.12

ARTIST STUDIO

GALLERY F RL +5.70

RL +0.00

LOADING DOCK RL +9.20

GOODS LIFT

STORE RL +7.00

RL +7.00

GALLERY J RL +7.00 GALLERY K RL +8.00

RL +7.50

GALLERY H

RL +3.78

RL +7.00

STORE RL +6.50

RL +3.78

LOBBY B

RL +7.5

OFFICES

RL +6.50 RL +3.78

GALLERY G

RL +3.50

RL +4.40

GALLERY D RL +0.00

RL +7.75

RL +1.12

GALLERY C

RL +6.75

ARTIST RESIDENCE RL +6.75

LIFT

FUNCTION ROOM RL +7.75

RL +3.07

GALLERY B ARTIST STUDIO RL +8.50

GALLERY F RL +5.70

RL +0.00

RL +1.12

RL -0.75

MAJOR PROJECT