ENTRY 02: COMING TO TERM WITH ARCHITECTURE

“As above, so below. The human being finds himself, or herself, in the middle. There is as much space outside the human, proportionately, as inside. Stars, moons, and planets remind us of protons, neutrons, and electrons. Is there a bigger being walking with all the stars within? Does our thinking affect what goes on outside us, and what goes on inside us? I think it does.” — Log Lady, Twin Peaks, Season 2: Coma[ [ ENTRY 02: COMING TO TERM WITH ARCHITECTURE

W02: 25.01.21

Giuliana Bruno explores the definition of architecture through the camera lens of Warhol’s Empire. The 8-hour film is taken as an atmospheric back-bone to her discursive and descriptive explorations of the essence of filmic architecture and the intrinsic connections of architecture in the real and the reel world.

Bruno takes us through her text with an extremely cyclical mode of writing, whilst still using seemingly abrupt ‘cuts’ by using layout techniques such as the rows of asterix between film descriptions, a formatting which is reminiscent of the clapperboards used between takes when filming. The rhythm of the textual clapperboard increases as she touches upon Warholian films (other than Empire) more concisely, giving the text itself a sense of timing through a rhythm; flowing between “reel time” and “real time” in order to form connecting arguments between scales.

Bruno continues to explore key themes – the geological time and the biological time, cinematic legacies with hints at the politicisation of architectures. Interestingly, it is the political trends which give further meaning to the motifs in the text “zero degree” and “ground zero”, especially when read in the context of Davidson’s editorial opening to Log No.2, which brings to attention the ‘goings-on’ of the world of architecture – by logging architecture, you log the “news” of humanity, including political and economic landscape. This continues to build an blurry, but very real, definition of what architecture is (through the reel). This is the encompassing theme of the text- and arguably the whole Log issue – “What is […]?”, true to theme, even Davidson’s own essay is titled “What’s in a Log?”.

Bruno continues exploring the definition of space by taking us from the geological eon to biological ticking, using architecture as a mediator, an embodiment or to encompass; “Taking on the time sex, food, or architecture, Warhol’s films take up a bodily landscape. Here, the atmosphere of dailiness is a space of incorporation.”1 In so doing, Bruno begins to define the void which architecture creates and which human activity ‘fills’. Bruno establishes the ‘void’ of new stylistic opportunity which Warhol creates through filming Empire, Sleep and To Eat, which is ‘filled’ by subsequent directors, creating a legacy attributable to Warhol. Bruno closely explores one of his legacies: Tsai Ming-Liang. She uses Ming-Liang’s work as a prime example of filmic architecture and the creation of narrative from void, or nothingness:

“This hole, and empty space, becomes filled with wonderful stories. It also becomes pregnant with gags.”2

This is a particularly interesting way to describe the void as an architecture of body: “pregnant” being such a mammalian term, a term that signifies an uncomfortable fullness3; a filling of the uterus as the ‘void’. At the same time a filling that is full of the opportunities of new life – new human stories to exist in the ‘voids’ of (reel or real) architecture – the potential of new forms of body (as embryonic cells divide) and new forms of space (as voids are divided?) which frame bodily activities that sleep, eat, etc, in an all-encompassing Empire of architecture.

And of course, as all pregnancies must come to term – a mammalian condition which is measured, by a predictable timeline – it is the timeline of the real – and for Bruno, the reel – that “not only expose[s] the architecture of time, but especially the idea that architecture itself is a matter of time, and not simply of space.”4

What is in Architecture? Much like a woman’s body can temporarily be the embodiment of potential, form and narrative, when one asks the question one might faintly hear the echoes through the void:

“Architecture is the very dwelling of temporality, it’s very home”5 .

1 Giuliana Bruno, “Architects of Time: Reel Images from Warhol to Tsai Ming-Ling.” Log, no.2 (Spring, 2004): 86. 2 Bruno. “Architects of Time”, 91. 3 The word “uncomfortable” here might betray that I write as a young woman who has heard of the “miracles” and “horrors” of pregnancy and childbirth – a heritage of societal expectation. 4 Bruno. “Architects of Time”, 93. 5 Bruno. “Architects of Time”, 93. Word Count: 676

66 Leonídio, “Álvaro Siza Vieira: Another Void”, 34. Leonídio, “Álvaro Siza Vieira: Another Void”, 34. 55 Leonídio, “Álvaro Siza Vieira: Another Void”, 34. Leonídio, “Álvaro Siza Vieira: Another Void”, 34. 44 Leonídio, “Álvaro Siza Vieira: Another Void”, 34. Leonídio, “Álvaro Siza Vieira: Another Void”, 34. 33 Leonídio, “Álvaro Siza Vieira: Another Void”, 34. Leonídio, “Álvaro Siza Vieira: Another Void”, 34. 22 Otávio Leonídio, “Álvaro Siza Vieira: Another Void”, Log, no. 16 (2009): 34. Otávio Leonídio, “Álvaro Siza Vieira: Another Void”, Log, no. 16 (2009): 34. 11 Cynthia Davidson, “Front Matter”, Log, no. 16 (2009) Cynthia Davidson, “Front Matter”, Log, no. 16 (2009)

Once the modernist ‘promenade Once the modernist ‘promenade

Perception, and Experience. Perception, and Experience. three key arguments ion his text: Clarity, three key arguments ion his text: Clarity, through Siza’s project. Leonídio weaves through Siza’s project. Leonídio weaves that in-and-of-itself reads as a dream that in-and-of-itself reads as a dream review of The Foundation building review of The Foundation building There is something about Leonídio’s There is something about Leonídio’s confronts Dada and Surrealist objects.”6 confronts Dada and Surrealist objects.”6 same imagination required when one same imagination required when one instrument of the imagination – the instrument of the imagination – the of knowledge but also becomes an of knowledge but also becomes an longer a device wholly at the service longer a device wholly at the service to recalibrate vision so that it is no to recalibrate vision so that it is no visibility, however, it is simply necessary visibility, however, it is simply necessary “This is not to abandon the field of “This is not to abandon the field of

provocation...”3 . of transparent modernism is almost a of transparent modernism is almost a “the broad and unrestricted visibility “the broad and unrestricted visibility and irrationality”2 and in so-doing and irrationality”2 and in so-doing he may amplify aspects of discord he may amplify aspects of discord locating it within a tradition by which locating it within a tradition by which to that used by modern masters… to that used by modern masters… with a vocabulary apparently identical with a vocabulary apparently identical emerges: “Siza’s architecture operates emerges: “Siza’s architecture operates modernism, so a provocative reflection modernism, so a provocative reflection as a mirror-image to these icons of as a mirror-image to these icons of Leonídio sets his arguments on Siza Leonídio sets his arguments on Siza perception of them. In so-doing, perception of them. In so-doing, even though he operates from the even though he operates from the

provocation...”3

to show how Siza is unlike them, to show how Siza is unlike them, using Le Corbusier and Niemeyer using Le Corbusier and Niemeyer Leonídio subtly breaks from this by Leonídio subtly breaks from this by

is not. is not. is precedent used for what something is precedent used for what something or aspects imitated (in design). Rarely or aspects imitated (in design). Rarely are discussed (in reviews or critiques) are discussed (in reviews or critiques) a as a template, where commonalities a as a template, where commonalities or contemporary example used more or contemporary example used more as such, precedent is often a historical as such, precedent is often a historical straight-forward characterisation. Taken straight-forward characterisation. Taken would be tempted to resist on such a would be tempted to resist on such a categorises Leonídio’s text in this I categorises Leonídio’s text in this I historical example”1, although she historical example”1, although she and wanes, appearing most often as and wanes, appearing most often as typologies, its active presence waxes typologies, its active presence waxes editorial, “…only in the idea of editorial, “…only in the idea of used, as Davidson identifies in her used, as Davidson identifies in her Foundation. Precedent is most often Foundation. Precedent is most often in his analysis of Siza’s Ibere Camargo in his analysis of Siza’s Ibere Camargo way that he chooses to use precedent way that he chooses to use precedent the expectation of the reader in the the expectation of the reader in the way he describes Siza doing, defies way he describes Siza doing, defies Otávio Leonídio, in much the same Otávio Leonídio, in much the same be left before entering the void. be left before entering the void. defining feature, and perception is to defining feature, and perception is to sensation of architecture is the one key, sensation of architecture is the one key, of the known unknowables, where of the known unknowables, where is a part from form. This is the world is a part from form. This is the world material, as much a part of form as it material, as much a part of form as it world modernism, the void is thick and world modernism, the void is thick and architect’s intention. In this mirrorarchitect’s intention. In this mirrorunquestioning understanding of the unquestioning understanding of the (in Siza’s own words) – demands (in Siza’s own words) – demands to demand “inflexible knowledge”5 to demand “inflexible knowledge”5 Director’s montage of forms in order Director’s montage of forms in order so tightly controlled by the Architect so tightly controlled by the Architect architectural forms and promenades – architectural forms and promenades – clarity of Le Corbusier and Niemeyer’s clarity of Le Corbusier and Niemeyer’s one cannot trust what they see. The one cannot trust what they see. The where things are not what they seem, where things are not what they seem, In this mirror-world modernism, In this mirror-world modernism, dreams.”4 dreams.”4 must bring imagination, reverie, and must bring imagination, reverie, and and paradoxical architecture; one and paradoxical architecture; one enough to address this opaque enough to address this opaque “An affirmation of vision … is not “An affirmation of vision … is not reminiscent of Adolf Loos’ work. reminiscent of Adolf Loos’ work. – of unease, as Leonídio puts it – – of unease, as Leonídio puts it – becomes an architecture of sensation becomes an architecture of sensation As such, the unclear architecture As such, the unclear architecture of views and/or architectural object. of views and/or architectural object. a ramp as a way-finder or exhibitor a ramp as a way-finder or exhibitor of well-known modernist logic motifs- of well-known modernist logic motifs- are. Siza defies the user’s expectations are. Siza defies the user’s expectations unlike the modernist precedent they unlike the modernist precedent they spaces which they navigate and how- spaces which they navigate and how- through different routes and the key through different routes and the key analysis of Siza’s project. He walks us analysis of Siza’s project. He walks us continues on to give an in-depth continues on to give an in-depth comparative framework, Leonídio comparative framework, Leonídio architecturale’ is established as the architecturale’ is established as the

W04: 08.02.21W04: 08.02.21 ENTRY 03: MODERNISM IN THE MIRROR ENTRY 03: MODERNISM IN THE MIRROR

“Yes, look in the mirror. What do you see? Is it a dream, or a nightmare? Are we being introduced against our will? Are they [ “Yes, look in the mirror. What do you see? Is it a dream, or a nightmare? Are we being introduced against our will? Are they [ [[