NAOp

Warning before reading - Each page of the paper is assembled with three different narrative parts, which have three different narrative reading’s rhythm. The first part is the graphic design of the project. The second is a complex paper that exmanine in depth the development and the process of the design. The third is a more direct and and quick project’s overview throught topic expression. - Pietro Pecovela

NAOp Anarchic anoriginal process

ναός , Naos, naop , “now”, “how long is now?” γένεσις , Origin, an-origin, anoriginal ἀρχή , Archè, an-archè, anarchic The deserted island is the anarchic anoriginal condition through which human kind aims to re-start, re-born, beginning anew. But this process of re-borning is, at the end of the story, just a way to colonize again, in the same way: recreating the everyday bourgeois life from a reserve of capital. So if the previuos “in-land born” was totally corrupted, something to escape from, or if this is just a chance to begin anew, what we will do is transplanting an erroneous germ into something new, in a new deserted island, and try to re-born using vassels or spaceships.

Topos means place; topology, it means a speech upon a place, a logos

Topology NAOp is placed in between the Hornfiskrøn and the inland of Læsø, 57°1N 11°06E. The topology of the “island into the island” is a fragmented flat texture of repetitive low moist grass, tidal pools, sand, mud, worm and ant’s nest. The repetitive texture is impermanent.

about conditions of places: for instance, the topology of point, line and surface is a branch of matemathics that try to describe this topological entities, points, lines and surfaces, through non-absolute systems but using their intrinsic capacities.

A topic place in which we can find this relation of re-borning, renaissance and an-archic an-original conditions is in the Robinson Crusoe’s island. After a shipwrek Crusoe is casted into an island, and

Points, lines, surfaces The intrinsic flattened and material texture can be described using a representation of dense capacities.

Points, lines, and surfaces describe the Hornfiskrøn’s flat panorama. In this way

the first things that he begins to do are building a shelter with the left over from the ship and giving names, Friday, his savage slave, as a topic mention.

An other instance could be the archipelagos of plastic islands: the pacific trash vortex in the central north pacific ocean. It is concentration of pelagic plastic, chemical sludge and the debris that have been trapped by the north pacific currents. Isn’t this plastic archipelagos an actual, even if inconscious, re-born colonization and de-territorialization?

What is the condition of an island? An island, any island, is basically deserted, an human-kind-less process of anarchic and anoriginal environment. What the explorer does is to de-territorialize the island, de-territorialize and colonize the desert. In the an-archic an-original deserted island, NAOp project wants to deconstruct conditions and any pre-condition, it wants to destabilize the environment, to grasp the possibility and the resistancy. The architecture is a condenser of sequences and possibilities. What does it mean to be possibile, to let an event occur, to handle the eventness, to be the an-origin of the

what we represent is the openness autonomy and material strata-texture of the island. Using dense, repetitive units and modules the purpose is to express its constant impermanence and in-becoming.

The scenario that the representation synthesizes is a concentration of real images.

Archipelagos The landscape is a uniform, vast and straight horizon.

Whitin this uniformness, a segmented and fragmented ground developes and crawls, creating a multiple archipelagos of emergent objects/elements. Those are absorbed into an

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real? Defining the anarchic and anoriginal of the real we need to redefine what is an image and why does a theory of the real image deals deeply with us? We need to redefine the relation with an image, investigating those relational qualities and capacities of the real, of an image in itself. ( discussed in “what is an affect-place?”)

The project is called NAOp – nomadic abandoning-occupation process.

Nomadic stands for the process of wandering, the process of being a sequence of continuous fluxuses, intensities and tendencies in a deserted island. A nomadic process involves on one side an haptic thought, that deals with affects and smooth spaces.

An individual may be characterized by a fixed number of definite properties, extensive and qualitative, but it possess an indefinite number of capacities to affect and be affected. Affects are virtual synesthetic perspective anchored in the actually existing particoular thing that embody them. The autonomy of affect is its openness.

anarchic openness.

Suddenly we are immersed into an hyper-haptic place.

Sequence NAOp is a serie, a succession of five object in the landscape along a path that lead from the salt museum to the edge of Hornfiskrøn. As the ladscape is sequenced, as the wandering of nomads in the lanscape is sequenced, so the architecture is.

In this kaleidoscopic serie of successions, also the singular object-installation is sequenced. Precisly, as the sections show, the installatin is an open

What is close is the smooth space, it is the local ambient panorama: it’s what is haptical. A smooth place is an envelope of close and haptic vision, in which everything is becoming bent, a fold, distorted and flattened. In this smooth flattened panorama, tidal pools and moist greenery overgrown and crawl on the ground of the desert.

But the nomadic process also involves the thought of object-oriented architecturing, as a parallel with the Java programming language OOP and with the object-oriented ontology. The idea of OOP is to represent real or abstract entities, that determine the dynamics of the problem that has to be solved, as unitary entities, and these units have specific use and functionality. The use-control and the functionality-process are called objects. In the Java language, objects define and are defined through fields and ambient, that determine the capacities of the variables linked to the objects.

This means that we don’t need to define pure objects and name them

structure in which a serie of pannels create movements, directions in the space.

Those are muscular movement. They imply the use of a body to access and relate to the structure, in order to do what ever any actor will desire.

The scale of the object is sequenced too.

Not all the part of the installation are accessibile to the human scale. Anyway the succession of pannels allows, as the sections illustrate, to embody a labyrinthic wandering, in a vast and wide landscape.

as abstact functionalistic things, but what we need is instead just define the qualities that could be activated by the object. So, we don’t want a pure ideologic abstract object, but the real qualities and capacities that localize the object as a cultural morphogenetic condition.

Abandoning-occupation process deals with processes of appropriation. Everything we do is absorbed into a political activism, everything we do is political. Eating, breathing, buying, working, become a political choice of appropriation, those are all acts over something that define a politic practice. Even the choice to not be politic is a politic position. And this envelope, that we call political, has to expand in a fragmented and disrupted horizon in which political attitudes and statemets are conditioned by intense autonomic bodily reactions that do not simply reproduce the trace of a political intention and cannot be wholly recuperated within an ideological regime of truth.

The abandoning-occupation process deals with condition and

Localize Those muscular tension and sequences inside and outside the object have the purpose to localize the eventness of a landscape, of users, of the things that users will read and express through, and in, this architectirung.

Segmentary The language used by the object-oriented-architecture is an haptic textured language. So this is an architecturing practice made of signs and directions. The installation is made of segments and

pre-condition of generic individuals, of languages, of instincts through which actors can embody and decode an event and an environmental ambient. An environmental ambient is an inter-active and inter-related actual place. So, it is possible to say, and we could assume, that the actor and its singular capacities are the event. But the event deals with possibilities, possibilities with sequences, and segmentary sequences are related to open images, the affect’s intersticial opennes and autonomy : so, in order to deal with events we first need to investigate the image. It is necessary to define what is an Image of the Real. ( discussed in “what is a affect-place?”)

The name NAOp is related to the word naos, that in ancient greek it defines the inner part of a temple. The inner cell of a sacred labyrinth that houses a cult figure. But before accessing the naos, at first it’s necessary to overstep a pro-naos, that is the sequence of spaces before: a pro-naos is the place/process that have to prepare the entrance to the naos. And before entering the pronaos you have to be

notes, it is an architecture of fragments that the generic user has to recompose.

The concentration of pannels will produce a segmentary succession of repetitive and different images.

There are no story in each of this images, but a pre-narrative question of expression. As in the top axonometrci view, what does come out is a concentration of lines that describe a junkspace of segmentary relations. Segmentary expresses how the object works but also how and where is its circular panorama.

in a pro-pro-naos, and before in colomnade, and in a podio, an so on, through this kaleidoscopic movement throught the erechteion and the panatenee.

Anyway the point remains to reach the Zone, to reach the sacred

Columns The installation has to be read as a emergent forest of columns. It is composed by 139 pillars positioned into

place, passing through corridors, open spaces, pillars, planes, series of podios, columns. But what is this Zone? why is it sacred?

A Zone where our desire, deepest wishes, get realized on condition that we are able to formulate them, which we are never able, which

a regular grid. Each pillar is composed by four steel L profile, of 50mm lenght per part, assembled in order to form a cross.

is why every body fails once we get there in the center of the zone: an empty and lost cell, a lost paradise. There is nothing specific about the Zone, it is purely a place where a certain limit is set. We can set a limit, put a certain zone out of limit and although things remain

In between each profile there is a gap, so they don’t directly touch: this make the profile-pannel structure independent in every part.

exacly the way they were, but it will be percieved as another place.

Precisely a place in which we can project our culture.

What deals with the Zone is a pre-narrative density and intensity. The pre-narrative density and intensity, that we find there, are objects in them self, as marker and localizer. And this is the disintegration and re-assemblage of the material texture of reality.

An ancient cult figure, a god, is also necessarily related to the archè.

Archè , in ancient greek, means origin, the beginning, the source of action. Now, what if the cult figure is vanished? what if the cosmo-generative archè has never been in that cell or that cell in itself ? What if the limit of the Zone is lost? What is the labyrinth of cells for? What is left? The cell is empty, and since the box is a void in the grid, consequently everything will start to move because of this void, the grid will start to re-assemble around an intersticial and pervasive void. We could think this in terms of the Lacanian “Das Ding”, “the Thing”, and the “lack of ” the real: an empty place that generate a question, a movement, before the language. Finding an empty cell in

Grid, cell , void The relation of cross pillars and pannels create a grid that basically is a sequence of diffirent cells and void. Each pannel and pillar delimit a void in the grid, that is an elematary cell. The pannels are thought as a modular succession of wooden tatami. So we can say that the tatami, the module, is the measure for the installation’s sequence. The modules create, articulate and develope a labyrith of cells. It is a flexible, basic and light composition.

Tatami’s measurements : 1x1, 2x1, 3x1, 2x2, 2x3, 3x3 m.

the deep core of a subject in itself, a process of manqué a avoire “lackof-being” will begin, and it will lead to an object petit-a. This empty gap in the Ego’s consciousness structure, this intrinsic void will generate an impetus of movement, a tension. And this movement pushes from a nothingness’s interstice: it moves from the in-between left over. The an-original and an-archic thought defines the empty void, the non-function of a space, to achieve a more specific an-condition

Structure, interstice The installation is an intersticial structure: tatamis and cross pillars are condensed in density, but still the whole object remains ephimeral becouse of the exploded pillars and the spacial con-

of a local-place. An open and wide theory of a place, a non-representational theory of the possibility. Nomadic actors will appropriate a place, and all the parameters, the void, the envelope, the scale, the sequence, the orientation, the multi-directionality will define the place as placed and the local as localized. We could say that the function is a generative function, a trigging morphogenerative algorithm.

Therefore every time that the generative function is activated, the object and the nomad will became site-specific, and the process will be in a continuous in-becoming actual. This means that the function doesn’t limit and delimit “what is there”, but it unfolds a segmentary sequence of “how is here”. How is the landscape there? How is the scale there? How is the deserted island there? How is the object there?

centrations of tatami.

The pillars relates with the ground with light foundations too. Each cross pillar has a steel foundation’s pillar, 2m deep.

This lenght allow the whole structure to stand, reaching a more dry and solid soil, but it will not allow the structure to stand still during the time. Those minimal foundation allows the structure to move and settle: the ambient will affect the object.

How is oriented there?

As the “how is here� generates an object-oriented-architecturing and a local localized, on the other side it is generated the resistance to an object and the resistance from the object, as a twin movement.

The resistance goes deeply, affecting the roots of an architecturing position. The resistance is the relation between actors, functions and places. And moving forward we could say that it is the relation between actors, places and ideology. It is the relation through which actors could resist to the architecture, and the object-oriented could resits to the actor. The land object is a pinpoint in the landscape. It is the continuation of the sequenced landscape, it is the continuation of the resistance that is intrinsic in the landscape. Therefore we can

Resistence The (im)permanent installation involves deeply a local and specific use of resistence. This means that the whole intersticial structure, wood and steel, and their relation with the soil, have to be and are resistant. The addition of independent and autonomous, self-standing and minimal structure, connected to each other throught

say that is natural as the landscape, it adapts as the landscape. It is organic as the landscape, it resists as the deserted island; it affects as the landscape, it is scaled, assembled in strata and kaleidoscopic as the landscape.

But we have to analize deeper the relation between being organic as

joints, create a resistent structure-sequence. Considering the foundation too, the result will be a non-static, but flexible and dynamic organic system. This

a deserted landscape but still resist it, being organic and resist as the landscape.

The issue could be, in order to be organic as the landscape, why not expand the form of the object and let it be organic? In this panorama, what does it mean to be organic? We could say that an organic

hybrid steel-wood strucutre controls the metal dilatation caused by warming, the wind friction, the wood’s comfort and durability, the foundation’s settlement.

position it isn’t a natural one, being organic it isn’t a matter of being a blob, it doesn’t mean to use curves or repetition to reproduce something that would like to be natural, which is still artificial. If we put a white room or a black monolith in a desert, no one will assume that they are organic, or natural. But we can state that the relation of these objects and the ambient will be natural, and precisely a natural resistance. This is a process of demystify the abstraction, declaring that what is artificial will still be artificial, cultural, ideological: but where is the organic?

In this desert being organic it means to deal with the natural movements and tension that the whole landscape produce. Within this argument we want to stress the generatve static presence of a natural

But the resistance of this installation isn’t just a resistence of material and structure, it’s also a resistence for the user. The installation involves a muscular, physical and haptical resistance.

Organic Out of the metaphor of a building as an organic building that works as a body, the installation’s organicism stands for a muscular concentra-

landscape in relation to actors’ actuality. So the object-architecturing absorbes in itself the condition and pre-condition of the moist desert, and in this situation the resistance is to continue being an artificial object. So, being organic isn’t a argument about a selfish form and ideology, but a question of relation and resistence. Being organic it means to generate a provocative and active object-architecturing.

The next position will be define how is a provocative and resistent object-oriented architecturing.

Why not to focus on “what is”, but on “how is” and “where is”. What does it means not to answer the question “what is there”? It means not to focus on a programme, a programmatic and classifier definition, it means not to focus on conditions that define and presuppose

tion of movements that are produced by the installation in itself. It stands for a muscular relation with a place, that generates movement as it is a body but without organs. This organicism stands for an ephimeral concentration bodily muscular sensation.

Non-programmed O. The design, as it’s shown through the illustrations, is focusesd on one of the

abstract functions, but to stress the an-conditions of an object; it means to stress the an-condition of a generative function. Therefore the real question becomes “how is”. How is an an-condition object, a non-programmed object, a generative function? How is that topological architecture? Its concepts are sequence, envelope, open structure, movement, multi-directionality, relationality, labyrinth-ness, possibility, adaptability, resistency. Then it is possible to define this specific object as a condenser of all those concepts. The un-controlled architecture, a nomadic clot of resistant sequences.

This object-oriented-architecturing is a muscular movement of concentration, a concentration of real images.

Defining the observer, the wanderer, not as the user but as one of the user, the scale of the object will begin to move. This movement is a kaleidoscopic movement from the small scale to an extra large one.

Because of the presence of a kaleidoscopic scale, from the observer point of view, or an actor, the movement, the affect, will be an affect of adaptation, of change: it will be an affect of resistance adaptability.

From a local wandering nomadic landscape to a condenser, an attractor, a localizer. In this an-conditional condenser there will be an adaptation. The observer has to change, it has to be autoplastic and alloplastic. This means that the observer has to adapt to the environment , to the architectural object-oriented. But on the other side the architecture will adapt to the observer’s scale : this means that the architecture could be, in some specific scale, locally specific to the observer, but not everywhere, not always. This is the resistance of this architecture.

What we are interested in is how you will adapt to an an-condition, an-archic, an-original place, and how this place can adapt to you.

What does it mean? How do you change your condition and pre-condition? How do you handle a kaleidoscopic labyrinth? How do you handle the anarchic? How do you think-live an open sequence? How do you deal with a trigging morphogenerative function? Where is the resistance? And here is the answer to “what is this architecture”?

It is a condenser of open sequences in a complex an-archic context, where people can rest, eat, try to go through, stay, gaze, touch, observe, throw their rubbish, experience, occupy, live, listen, play. As a condenser, as an object-oriented architecturing, it is a pinpoint, a clot to which your wandering could be oriented. And, in this vision, it is just the continuation of a nomad wild-deserted wandering.

The design object, at the end of the story, is an installation and it is supposed to work as an installation.

As an installation it has its own narrative, or pre-narrative, and inter-activity, even if the whole design process tried to argument the thesis of “what and how is an object, a sequence, that has no language?”, how is an object that wants to performs-lives without a defined language and use. Actually the design-architecturing sequence wants to create, each time that affects and is affected, each time that is activated, a autonomic pre-narrative question and so a re-born narrative: a narrative built upon an an-condition, an-archic and an-original process. The an-condition object aims to create an intersticial openness, an open image-in-itself. It aims to re-define and resist to actors and their imaginary; basically it tries to resist to what is architecture, going deeply to the roots of architecture.

five spatial installation that compose the sequence of NAOp. Three installations are placed in Hornfiskrøn, another is in the canal that separtes Hornfiskrøn from Læsø, and the last one is placed in the in-land. The programme for this installation sequence is a non-programmed object-oriented-architecturing, as it is explained along the essay. The non-programmed object deals in depth with the name of the project in itself, Nomaic Abandonig Occupation Process.

Basically the design wants to achive a non-programmed architecturing through a pre-narrative language of place. This means that is totally up to actors how to localize the abandoned frame sequence. This mens that is totally up to actors how to occupy, appropriate and express the object’s sequence in the landscape. The project’s programme doen’t aim to define “what is there” throught an architectural movement and imposition, but it aims to define “how is” the eventness there, how is the landscape, how is haptic, how is a muscular concentration of image there?

Scale Defined as a non-programmed land object-oriented, the design generates a kaleidoscopic and labyrintic series of physical scale in the landscape. The pourpose is to focus not just to a human scale, but to adapt to multiple scale of multiple actor that could activate the installations.

Anyway the scale of the project is built on tatami and an emergent forest of pillars.

To be multi-scale, to be multi-directional, to be an autonomous openness, it doesn’t mean to be scaleless or non-proportioned, it means to be adaptable to the multiplicity of an environmental landscape.

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