from fleeting to fixed by Miruna Mazilu
FROM FLEETING TO FIXED Exploring the continuum of permanence Miruna Mazilu 4th year, Diploma Unit 9 Arhitectural Association school of Architecture 2014, London
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Content Preface Chapter I:Setting up the conversation 1.The fixed ideology 2.The Fleeting Ideology
Chapter II: From Fi to Fl 1.Project genealogy 2.The fixed factory vs the fleeting factory 3.The soup 4.The sofa 5.The Superstars 6.event vs artefact
Chapter III: The Factory 1. The object 2. The event 3. The site
CHAPTER IV: The Presentation space 1. The room as frame 2. The apparent fixity of a project CONCLUSION
Glossary
Miruna Mazilu
Preface My factory examines what we make, how we make and where we make it. While exploring the space of production where identity is shaped through the making of immaterial or mass; What sits between making event and artefact? Nothing. I believe the two are interchangeable as they rely on the spectacle, following the transitions of its various landing places (from space of production to place of installation). They are in constant exchange, knitting the ground on which I, as an architect, navigate, oscillating between ways of arranging the cultural and physical world. The project brings this spectacle forward as a process rather than a result or an effect, where the edges of the notion of ‘place’, of belonging, are blurred out. They are becoming slowly intangible as the relationship dynamic between the physical environment and the individual is in constant movement.
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Chapter I
The Conversation
Miruna Mazilu
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Judd 101 SPRING STREET - 1968 New York -
Taking the studio as point of departure, the project presents itself as a continuum, challenging the instances of permanence within a collection of work, in relation to place. My factory animates the conversation between the fleeting moment and the fixed in this context, questioning which is heavier. To do so, it operates across the spectrum of mass, fixity, performance and time. The studio is a factory of both culture and mass. Here, identity is crafted through the constant exchange between the ephemeral and concrete, which transitions between different physical and cultural landing contexts. In this factory, the method of making and assembling of a whole is fragmentary and resembles an archipelago. I call it an archipelago as each piece of work can be read as a singular independent element although it is part of a larger collection of work.
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Chapter 1 - The fixed ideology
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The primary precedent for the project was Donald Judd’s 101 Spring Street house which is an example of a landform, in this case his house, bringing together a series of independent objects in a permanent installation. He vehemently argues against the way art is being showcased and rejects the ephemeral quality of art (having to be installed and taken down) emphasising on the need for art to connect to site.In doing so he devotes his life to collecting artwork and trying to find this coherence. “Art and architecture—all the arts—do not have to exist in isolation, as they do now. This fault is very much a key to the present society. Architecture is nearly gone, but it, art, all the arts, in fact all parts of society, have to be rejoined, and joined more than they have ever been.” –Donald Judd, 1986 Artists in Collection Include : Donald Judd,Jean Arp,Carl Andre,Larry Bell,John Chamberlain, Honoré Daumier, Stuart Davis, Marcel Duchamp, Dan Flavin, David Novros, Claes Oldenburg, Ad Reinhardt, Lucas Samaras, Kurt Schwitters, Frank Stella, H.C. Westermann.
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Chapter 1 - The fixed ideology
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The Permanent Installation I disagree with Judd’s sole frame in which the project should be placed and experienced and consider he neglects the alternative set of contexts which accompany the artefacts as part of a project. My factory projects a speculative ground, which doesn’t fix these fragments to a site. The logos of the archipelago is developed as a ‘dia-logos’ of collisions which reject the proposal of a sole placement for the artwork. It acknowledges itself as a mimesis of thinking, situated at the scale of the table it is presented on and at the scale its narrative implies. In this sense the factory is forming a counterpart to the traditional gallery space, where objects were de-contextualised but existed in fixation to each other and to the physical space in which they were exhibited.
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Chapter 1 - The fixed ideology
The manufacture site
- The project in the context of the studio Any action or undertaking is reliant formulating a corresponding project.
The cultural site
The geographical site
15 The project in the context of the its site. Given a lifespan between 20 years, which can be called permanent? - the building or the inhabiting event? The object becomes scaffold for fictions.
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Warhol
the silver factory - 1962-68 New York -
Fascinated with Judd’s radical approach and somewhat utopic Marfa Foundation, it is interesting to consider the clash with another major ideology that was taking form in New York at that time. While Judd was transforming the building into a home, a studio and most importantly a laboratory of ideas, the explosion of consumerism reverberated in Andy Warhol’s “Factory”. For Warhol, the factory is the space of the momentary, generating 15 minutes of fame and the nomad artwork assembly line. The impermanence of The Factory exists through a set of memories of events hinged on parties where the only constant becomes the iconic image and the sofa as place of gathering and happening - Here event becomes simulation of place.
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Andy Warhol’s famous 1968 statement – “In the future, everyone will be world-famous for 15 minutes” summarizes his belief in the power of event and the attention he gave to the fleeting, to the momentary. With this in mind, he embarked on a series of projects during the Factory years which relied on the happenings that took place in the studio.
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Chapter 1 - The fixed ideology
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Chapter II
From FI
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Fl
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Introduction
The exploration begins by interrogating Donald Judd and his notion of permanence within art, which redefines the relationship between the artist, the object and ultimately the viewer. He is a key starting point as his actions immediately challenge the materiality of the authors presence, while his ideology should enhance it and make it palpable. In the same way Judd used 101 Spring Street as a testing ground for his ideas, the Recon’s intent is to use Warhols’ studio as a base for experimenting with the the verb ”to judd”. The Factory (Warhol’s studio) becomes a testing ground which explores the ‘syntax’ with which to understand the fabrication process, the action (or verb) and the fabricated. We begin by examining and classifying the framework of the two worlds.
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fixed factory The ASSEMBLY LINE “To Judd”
ARTEFACT
The factory takes the stripped object and reinstates it through the quality of relation to space producing the PERMANENT INSTALLATION. For both 101 Spring St. and Marfa the production process consists of THE COLLECTION as input which is subjected to a series of observations that define the objects’ PLACEMENT (giving a set of coordinates). Therefore, reflecting the authors’ identity as output.
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Fleeting Factory
The Warhol ASSEMBLY LINE
EVENT
The Factory was Andy’s studio, but it was also the centre of the scene. The factory is the event place and production space for the nomad artwork assembly. It is the space of the momentary, generating 15 minutes of fame where the only constant becomes the iconic repetitive image and the sofa = the object of gathering and happening.
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The Soup clashing the event with the artefact on different levels.
Pairing the two, whom both impose their beliefs and appropriate objects of others to form their own identity, I question the issue of identity within the spectrum of the different states of the objects we make.
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Chapter 2 - From fleeting to fixed
Experiments on material level
Clashing the fleeting with the fixed, on a material level, these experiments interrogate the issue of identity through: - the visual of the object as representation - the figure of the object (the object itself ) - the formal object (geometry, materiality, form) - the behavioural implication of the object (the event)
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Experiments on material level
The momentary (behavioral) implication of the object - the event
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The object itself (the 1:1 object)
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The figure of the object -the formal object ( geometry, materiality, visual quality, texture)
The visual of the object - as representation
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The Sofa clashing the event with the artefact.
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But what happens when this newly curated artefact is asked to perform? What shape of event can it take or imply?
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Experiments on material level
The momentary (behavioral) implication of the object - the event
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The figure of the object
- stripped of its implied function
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Chapter 2 - From fleeting to fixed
The figure of the object
-the formal object (geometry, materiality, visual quality, texture)
The visual of the object
- as representation
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Superstars Exploring the encasement of event
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Chapter 2 - From fleeting to fixed
The superstars
Andy Warhol
Joe Dallesandro
Patrick Fleming
Ingrid Superstar
Susan Bottomly
The muse - Edie
Baby Jane
Edie Sedwick
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Experiments on material level
The visual of the object
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The figure of the object - The 1:1 object itself
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Chapter 2 - From fleeting to fixed
The figure of the object -the formal object stripped of its implied function
The momentary (behavioral) implication of the object - the event
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Chapter 2 - From fleeting to fixed
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artefact vs event
clashing the event with the artefact.
Sited back into its original context, the place of gathering becomes an artefact. It is stripped down of its social purpose and by enhancing its formal quality, the issue of placement is palpable as it challenges the dynamic of the event. By trying to permanently maintain the event, the event doesn’t take place.
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Chapter 2 - From fleeting to fixed
event
ARTEFACT
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The archipelago of objects become tools with which you think of and understand the artist/author. It projects the behavior, showing intention. The factory takes this assemblage of fragments which drift and collide, revealing how the project oscillates between states of fleeting and fixed throughout its existence. With these absurd scenarios, I test the act of encasement rendering it redundant.
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Chapter III
The Factory
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Framework
The room - the space of play between the perception of permanence vs the reality of it
The room acts as a device, as a factory or framework for the artefact and event. So if we were to judd the room, the perfect room size cube, 2 X 2 metres begins to perform as a coordinate device. A device that places the object in order to capture the event. The wireframe corner performs by plugging into space of the ephemeral events. It captures the objects of the fleeting event and places them. The permanent installation is attained by recording the insertion of the cube. The corner sets up a conversation of the spectrum of the room. spectrum which defines the identity of what is experienced. The recording of the installation becomes the physical space that it inhabits. The reality of the permanence is the image.That is where the artefact is encased. The wireframe corner itself describes the perception of permanence. There are moments of truth in both dimensions, the image and the physical. That is where the curator comes in.
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Leap into the void Yves Klein
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Chapter 3 - The Factory
(April 1958), Klein chose to show nothing whatsoever, called The Specialization of Sensibility in the Raw Material State into Stabilized Pictorial Sensibility, The Void: he removed everything in the gallery space except a large cabinet, painted every surface white, and then staged an elaborate entrance procedure for the opening night; The gallery’s window was painted blue, and a blue curtain was hung in the entrance lobby, accompanied by republican guards and blue cocktails. Thanks to an enormous publicity drive, 3000 people were forced to queue up, waiting to be let into an empty room.
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Wireframe Corner 01 The AA Lecture HAll 50
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Chapter 3 - The Factory
Wireframe Corner 02 The AA Lecture HAll 51
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Chapter 3 - The Factory
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Chapter 3 - The Factory
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Chapter 3 - The Factory
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Chapter 3 - The Factory
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Student as archipelago
Marking permanence against the on rolling project
The ideations of architecture in the architectural student’s projects perform interminently, episodically; While the interrogation is permanent acting as sedimentation. We witness the formation of the arch student as an archipelago of units and obsessions. With permanent aspirations and a fleeting/ temporary mode of production the architecture student is concerned with the contemporary.
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The artist’s identity and collection of work becomes a phenomenon which can be investigated only through the record of its past. Therefore The archipelago of objects become tools with which you think of and understand the artist/ author. If the reality of the past is constructed through fragments and the future is invented with them, then the appropriated assembly provides the opportunity for absurd fictional narratives.
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The archipelago constructs immediate collisions, moments of tension between artefact and event which critique Judd’s proposal of a sole context for the project. Judd doesn’t acknowledge the spectacle intention in his actions. His complete orchestration and doesn’t negotiate its apparent fixity. In truth, the outcome of his ideology is in constant change depending on its site (conditions) and can only be experienced temporarily. Similarly, while Warhol’s work is founded on fleeting events, his superstars survived past the 15 min of fame. While the Factory was destroyed its image is permanent.
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FACTORY _ INPUT/ PROCESS/ OUTPUT IDENTITY_ PAST/ PRESENT/ FUTURE The same way in which a factory works through the iteration of input, process and output; we can look at crafting idenity by collecting (from the past), sedimenting (in the present) and projecting (in the future).
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Chapter 3 - The Factory
“Everything is Illuminated” screenshot
“Everything is Illuminated” screenshot
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Chapter IV
The
Site
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The apparent fixity is present throughout the different landing points of a project. The ideations of architecture in the architectural student’s projects perform interminently, episodically.
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The perception of permanence. Capturing the event.
The reality of it. The image. Where the artefact is captured.
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Chapter 4 - The Site
The space captured by the wireframe cube
The 1:1 photograph of the installation
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Chapter 4 - The Site
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The Perpetual Project installation presents the project as an event with a predefined rhythm and predetermined lifespan after which it is left redundant. The act of placing this installation becomes the focus of the exercise as attention shifts from the result of the project to the activities that are supposed to produce that result. “The documentation of the virtual and real steps necessary to realise the project becomes the main object of interest�. The objects become scaffolding for fictions.
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SMASH!
We need to come to terms with the rejection of the podium, and admit its replacement with spectacle.
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The fragmentary method of making and assembling of a whole present in the studio production also links back to how the archipelago operates. The apparent place is located in the view outside the window, in my case London. While working on the Marfa drawing (of which you can catch a glimpse in the laptop screen) I am displaced in Marfa. The laptop becomes the means of displacement which creates the collision between the apparent place and the displaced. While the laptop is the non-place it acts as a mediator? – trying to tie in how our more and more islandary lifestyle requires connectors (or displacers) in order to create a sense of place.
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Place becomes a key term to interrogate, both in terms of site and context, in relation to the current form of architectural project. It offers the viewer different possibilities of perceiving & relating to the work, and negotiate their own position towards the object & its location. Marfa provides a perfect ground, the constant and uninterrupted desert with no dimensions, no scale. Here you find the potential to imagine the realisation of infinite iterations.
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MEXICO
Former quarry converted to a hazardous waste depot in Norway
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Thinking of Judd as an artist who misunderstood or misidentified architecture as something necessarily regional, which is fixed in place and fixes things in place. He didn’t actually see this aim has “ since drifted off ”.
Allan Kaprow, Fluids happening installation
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Chapter 4 - The Site
LACMA Happening 89
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When encasing, the archipelago displaces the subject in ‘No-man’s-land’. The continuous landform, where objects are reintroduced in tension with each other is revealed in the form of a continuously changing panorama view which discloses the unexpected. It is potentially infinite and in constant redefinition through the different interactions.
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Chapter 4 - The Site
Judd and the permanence of architecture -Allan Kaprow comes to Marfa-
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The event vs. Artefact -Capturing The Factory superstars-
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Different states of identity -rooms producing cultures-
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From FL to F
Miruna Mazilu Allan Kaprow’s “Fluids” installa
FI ation arrives at Marfa
Chapter 4 - The Site
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If building has traditionally been assigned the job of keeping out the rain, as Sylvia Lavin states,”architecture loves a cloud”. From Brunelleschi’s famous perspective apparatus which captured the movement of a cloud in a mirror to the atmospheric spectacle characterising contemporary architects (such as Sanaa/herzog), the traces of weather have permitted architecture to animate building materials.
The effects are its inhabitants, spectatorial stand-ins and this is becoming architecture’s place. Neither a site or context, but a landscape of events wherein visibility of individual constituent objects become clouded by their performance within a manifold/ continuum. The focus becomes the interaction between event and environment.
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the perpetual party
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The factory ultimately projects a speculative ground, which doesn't fix these fragments to a site. The logos of the archipelago is developed as a 'dia-logos' of collisions which reject the proposal of a sole placement for the artwork. It acknowledges itself as a mimesis of thinking, situated at the scale of the table it is presented on and at the scale its narrative implies. In this sense the factory is forming a counterpart to the traditional gallery space, where objects were decontextualised but existed in fixation to each other and to the physical space in which they were exhibited. We need to come to terms with the rejection of the podium, and admit its replacement with spectacle. B. Nauman says “...[if ] I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product.�
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Permanent projects line-up: - Line-up curated 30 days in advance of event - Buildings to be brought into position between 10.30pm - 4am. - Tracking sand marks to be removed after all buildings are placed.
20M
Designated soil pile-up area: - Maximum mound height of 6M tall
The inverted podium: - Requires qualified operator - PPE equipment required at all time (though must be aknowledged as a precausion rather than fully protective). - Random drug and alcohol test may be conducted without prior notice. Safety boundary ditch: - 20M x 20M safety area to be checked after each building is placed. - Ensuring boundary line visibility every hour. Rubble mound - Building ruins to be removed after podium drop and reassembled as found within the designated area. VTS (vehicle-track-sweeper) - Realign reflector angle and position VTS according to daytime factors as per given handbook - Weekly general vehicle maintenance - Attach mirrored mirage-fencing system during visiting hours - Follow bus tour route with a 10 min. delay
Projection green screen: - Pest prevention to be applied as considered necessary. Beatles costume supply: - Merchandise condition and cleanliness should be checked and dealt with on a daily basis. Costume changing rooms: - Daily removal of fingerprints and dust from mirrored facade surface.
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Mirrored mirage-fencing system: - Hourly angle realignment on vertical and horizontal planes according to sun stages. - Daily dusting and fingerprint removal - Weekly polish and stain removal 1. Maintenance Depot and general storage - Monthly stock inventory 2. Crew outdoor dining area 3. Crew ‘Factory’ area: - For the creative and recreative purposes established within the maintenance crew.
Embraer ERJ 145 aircraft runw - Sweeping twice a week to mai visibility - Dailly light signal check - Coordinate bus tour times wit scheduled flights. Perpetual portfolio installation: - Switch on daily at 8am - Check functioning hourly - Switch off at 9pm
Landing height safety boundary
On-site planting: - Watering before sunrise - Between 1-3 litres of water per plant depending on height. - Dried out foliage not to be removed unless found fallen on desert floor.
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Excavation 02: - To be covered between 9pm-6am in summer months and 5pm-7am otherwise. - Hourly checks decending into each hole - Daily clearing out residue and safety alarm check
Ice melt considerations: - Hourly sweeping of sand over wet patch - 52 firm sweeps to be conducted in a S-SW direction - Double the melt-check frequency between 12pm-4pm during summer months. Particularly August. Please note: environmentally exposed facade. - Enclose structure for outdoor temperature over 104F. - Severely damaged ice blocks replaced between bus tour times or after closing when possible.
way: intain
th
While exploring the space of production where identity is shaped through the making of immaterial or mass; What sits between making event and artefact? Nothing. I believe the two are interchangeable as they rely on the spectacle, following the transitions of its various landing places (from space of production to place of installation). They are in constant exchange, knitting the ground on which I, as an architect, navigate, oscillating between ways of arranging the cultural and physical world. The project brings this spectacle forward as a process rather than a result or an effect, where the edges of the notion of ‘place’, of belonging, are blurred out. They are becoming slowly intangible as the relationship dynamic between the physical environment and the individual is in constant movement. 107
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The Berlin Series
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The object
Exploring mechanisms which can provoke the formation of the archipelago.
Among the various meanings of the French word objet, the Littré dictionary gives this: ‘Anything which is the cause or subject of a passion. Figuratively and most typically: the loved object’. It ought to be obvious that the objects that occupy our daily lives are in fact objects of a passion, that of personal possession, whose quotient of invested affect is in no way inferior to that of any other variety of human passion. […] The object pure and simple, divested of its function, abstracted from any practical context, takes on a strictly subjective status. Now its destiny is to be collected. Whereupon it ceases to be a carpet, a table, a compass, or a knick-knack, and instead turns into an ‘object’ or a ‘piece’. “A Marginal System: Collecting” in “The System of Objects“, Jean Baudrillard
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Digging the object
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Blending the object
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Completing the object
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Extending the object
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Intersecting the object
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The Totem series
Platy visits Berlin
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Platy in John Hejduk’s Kreuzburg social housing tower
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Platy in Barkow Leibinger architectural studio
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The AA Off-site Presentation Room Project - Construction details
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Notes: 1. steel angle cap 2.gravel over roofing felt 3. rigid insulatrion on steel deck 4. sprayed insulation 5. roof purlin
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PRELIMINARY ARCHITECT: AA DIP 9 Architectural Association School of Architecture 36 Bedford Square Londin WC1B 3ES JOB TITLE: AA Off-site Presentation Room CLIENT: Architectural Association School of Architecture DRAWING TITLE:
FACADE DETAIL_01 DRAWING NUMBER:
REVISION:
AA01_200_01
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Notes: 7. Louvred ventilators with door 8. Concrete floor slab
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PRELIMINARY ARCHITECT: AA DIP 9 Architectural Association School of Architecture 36 Bedford Square Londin WC1B 3ES JOB TITLE: AA Off-site Presentation Room CLIENT: Architectural Association School of Architecture DRAWING TITLE:
FACADE DETAIL_02 DRAWING NUMBER:
REVISION:
AA01_200_02
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Notes: 1. Existing plated wrought iron beam 2. 20mm thick steel spreader plate 3. bolt box consisting of 12mm thick steel lower plate 4. 85mm diameter sleeves with 12 mm thick wall 5. 40mm thick steel plate to concrete hanger bracket 6. 700mm long bolt
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AA Off-site Presentation Room CLIENT: Architectural Association School of Architecture DRAWING TITLE:
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Notes: 1. Precast concrete paving 2. Concrete fill 3. Waterproof membrane 4. Concrete roof slab 5. Water Spout 6. Styrofoam joint 7. External render 8. Internal render 9. Durisol concrete blocks
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PRELIMINARY ARCHITECT: AA DIP 9 Architectural Association School of Architecture 36 Bedford Square Londin WC1B 3ES JOB TITLE: AA Off-site Presentation Room CLIENT: Architectural Association School of Architecture DRAWING TITLE:
ROOF DETAIL_04 DRAWING NUMBER:
REVISION:
AA01_200_04
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1:10 @ A4 Drawing by MM
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Notes: 1. Anchor chain piles sunk into ground 2. Bottom section of caisson cast on location 3. Caisson connected to anchor chains 4. Caisson driven into ground, core excavated 5. Top section of caisson cast 6. Core further excavated 7. Final excavations 8. Basement floor cast
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PRELIMINARY ARCHITECT: AA DIP 9 Architectural Association School of Architecture 36 Bedford Square Londin WC1B 3ES JOB TITLE: AA Off-site Presentation Room CLIENT: Architectural Association School of Architecture DRAWING TITLE:
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GLOSSARY Fixed -adjective 1.fastened securely in position. “a fixed iron ladder down the port side” synonyms: fastened, secure, fast, firm, stable; More antonyms: temporary 2.(especially of a price, rate, or time) predetermined and not able to be changed. “loans are provided for a fixed period” synonyms: predetermined, set, established, allotted, settled, prearranged, arranged, specified, decided, agreed, determined, confirmed, prescribed, decreed; Fleeting- adjective lasting for a very short time. “for a fleeting moment I saw the face of a boy” synonyms: brief, transient, short-lived, short, momentary, sudden, cursory, transitory, ephemeral, fugitive, evanescent, fading, vanishing, flying, fly-by-night, passing, flitting, here today and gone tomorrow, temporary, impermanent, short-term, rapid, quick, swift, rushed; “we only had a fleeting glimpse of the sun” Permanence - noun: permanence; plural noun: permanences the state or quality of lasting or remaining unchanged indefinitely. “the clarity and permanence of the dyes” synonyms: stability, persistence, permanency, fixity, fixedness,changelessness, immutability, constancy,rarelastingness, everlastingness, eternalness, eternality,perdurability, perenniality, imperishability, inalter ability,unchangeableness, unchangeability monumentalise - record or memorialize lastingly with a monument monumentalize, immortalise, immortalize, memorialise, memorialize, commemorate, record - be or provide a memorial to a person or an event; “This sculpture commemorates the victims of the concentration camps”; Quality of the object – characteristics that define the objects’ integrity such as – the 3 dimensions, geometry, material, location and environment. event- noun occurrence, happening, proceeding, episode, incident, affair, circumstance, occasion, business, matter, experience, eventuality, phenomenon, meeting, encounter;
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