A FRAME WORK One week scenography workshop without manuscript. A proposal for scene development By : Pietro Pecovela & Naima Callenberg
Contact: pietro.pecovela@gmail.com naimacallenberg@gmail.com
Jacques Derrida, “Point de Folie-Maintenaint l’architetture”, 1986 […] Maintenant: if the world still designates what happens, has just happened, promises to happen to architecture as well as through architecture, this immanence of the just ( just happens, just happened, is just about to happen) no longer lets itself be inscribed in the ordered sequence of the history: it is not a fashion, a period or an era. The just maintenant [just now] does not remain a stranger to history, of course, but the relation would be different. And if it happens to us, we must be prepared to receive these two words. One the one hand, it does not happen to a constituted us, to a human subjectivity whose essence would be arrested and would then find itself affected by the history of thing called architecture. We appear to ourselves only through an experience of spacing, which is already marked by architecture. What happens through architecture both constructs and instructs this us. The latter find itself engaged by architecture before it becomes the subject of it: master and possessor. On the other hand, the immanence of what happens to us maintenant announces not only an architectural event but, more particularly, a writing of space, a mode of spacing which makes a place for the event. If Tschumi’s work indeed describes an architecture of the events it is not only in that it constructs places in which something should happen or to make a construction itself be, as we say, an event. This is not what is essential. The dimension of the event is subsumed in the very structure of the architectural apparatus: sequence, open series, narrative, the cinematic, dramaturgy, choreography. Is an architecture of events possible? If what happens to us thus does not come from outside, or rather if this outside engages us in the very thing we are, is there a maintenant of architecture, and in what sense [sens]? Everything indeed [justement] comes down to the question of meaning [sens]. We shall not reply by indicating a means of access, for example, through a given form of architecture: preamble, pro-naos, threshold, methodical route, circle or circulation, labyrinth flight of stairs, ascent, archaeological regression towards a foundation, etc. Even less through the form of a system, that is, through architectonics: the art of system, as Kant says. We will not reply by giving access to some final meaning, whose assumption would be finally promised us. No, it is justly [justement] a question of what happens to the meaning: not in the sense of what would finally allow us to arrive at meaning, but of what happens to it, to meaning, to the meaning of meaning. And so – and this is the event – what happens to it through an event which, no longer precisely or simply falling into the domain of meaning, would be intimately linked to some-thing like madness [le folie].
SITE : Mølleparken, Aarhus CHARACTERISTICS: Three big circles in a bigger plaza. Trees, movements and several focuspoints. No direct program. POSSIBILITIES: A 360° stage in a public space where people are moving, living. A new focuspoint.
aarhus hovedbibliotek
Møllestigen
møllegade
aarhus å
SITUATIONPLAN - Mølleparken SELECTED SITE
Scale 1:500
Frame-work What is a scene? The scene could be defined as the interaction of “place-objectpeople”. The “place” stands for what actually is there, therefore the place means and talks about the ambient, the local constructed-instructed ambient. The “people” stands for the body presence of someone: “is there someone, anywhere, who is doing or thinking something?” The “object” stands for something that create variations and deformations in the space, it could be seen as an obstruction or something that somehow provokes somewhat; the outside objects are strictly linked and connected to the outside condition, so these will work to built a situation. The Place-objectpeople ( P.O.P.) is an immanent happening, just an event, but an actual event. So this interaction, the POP ACTUAL, generates dynamicity and variability in a unique and continuous space, and through out these elements we finally arrived to the movement that goes through the action: the act. The frame-work scene is an investigation about the relations that happen with different elements in-on the space. As “investigation in collective form” it has not just one solution, but many. A multiplicity of possibilities that could happen in unique scenarios, involving several conditions. The frames are designed to create spatiality and to involve both the spectators and the actors, and everything that is in a condition of relation with. The interaction in-between with frames and actors generate directions, the scene, the seat area for the spectator, interferences. The design is thought to be simple and direct, in order to be any-and-no element (a door, a window, a wall, or just a frame as an absurd abstract object). Structure The frame is an open structure composed by four simple plane elements fixed together. The design of the frame forcasts two different frame-type. The one is built with plywood, and it works in collaboration with four metal ,“L” outline, in the angle of the structure: therefore this frame-type is easy to built and cheap because of the common materials. The other is built with four plane sheets of corten steel welded in the angle of the structure. The frame-type with wood is design to be temporary, instead of the corten steel one that is tought to be durable through times, so it has the ambition to be a permanent object in the landscape. The frame-work is concepted to work in cluster of 3, 5 or 15. Each different situation of 3, 5 or 15 has not just different spatial relations and inter-connections in itself as an architecture object, but also in relation to the actors and the spectators. The project studies three different aggregation’s condition for 3,5 and 15. The aim of the investigation is the research of the scene, determined by the cluster of frametype. Specific clustering action defines the limits, the edge of the actor’s stage and the spectator view point ( focus point). So the cluster-frame works with sequences, series, directions, densities, focus points, pauses, in order to translate these scene objects into actions, movements, acts.
1100
2400
MEASUREMENTS OF FRAME ( 2400 x 1100 x 450)
450
1. 2. 3.
OPTIONAL FORMATIONS OF FRAMES 1. Wooden frame with metal frame support along edges 2. Wooden frame with metal profiles in corners 3. Metal frame - Corten steel - one piece
CONFIGURATION - 3 FRAMES
CONFIGURATION - 5 FRAMES
CONFIGURATION - 15 FRAMES
CONFIGURATION - 3 FRAMES
ILLUSTRATION - 5 FRAMES
CONFIGURATION - 15 FRAMES