On Ornament and The Aesthetic Original
Shalini Rautela
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1. Prologue 2. Wayfinding Plans 3. Q & A 4. The Archive 5. Works 6. Past & Future, Superimposed 7. Appendix i, Phase 1: Object 8. Appendix ii, Phase 2: Museum 9. Appendix ii, Notes 10. Appendix ii, Knowledge Bank 11. Bibliography
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Prologue
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Triplicate The institutional setting of the museum functions paradoxically as the place for the generation, display and disappearance of architecture, at once affirming and suspending any evidence of architecture actually ‘being’ there. This architecture in pseudo-absentia has an uneasy relationship with the museum’s institutional order – it’s codes, practices, perceptual histories and blockbuster exhibitions. Architecture’s unease in the museum buttresses claims for the disciplinary autonomy of architecture and supposes the probability of the museum interior as a site for the emergence of new architectural modalities, co-dependent, and perhaps even independent of the museum. ...Architecture born in the museum Students will work with material from the James Stirling Archive at the Canadian Centre for Architecture (CCA), drawings and other documentation of the Venetian Palazzo Ca’ Corner della Regina (the Fondazione Prada venue in Venice), and catalogues of the current exhibition on show at Fondazione Prada Venezia titled Stop Painting (conceived by artist Peter Fischli). Projects, drawings, photographs and other documents selected from the Stirling archive become source material for students to pursue designed intersections of James Stirling’s architectural ideas and the 18th-century family home cum museum on the Grand Canal in Venice – classicism in triplicate. After staging a series of these tactical design responses, students will deploy these logics on a larger scale across the Ca’ Corner della Regina building; its spaces, circulation, materiality, sequencing etc. The new architectural entity will then be further tested by the introduction of the present exhibition at the venue Stop Painting as an art historical, curatorial and programmatic consideration for the design. Therefore, students should expect a three-tiered research approach: the Stirling archive at the CCA, Cá Corner della Regina (Fondazione Prada venue), and the Stop Painting exhibition at Fondazione Prada, to support their design development throughout the studio and the prophetic emergence of architectures born within the museum. Led By Scott Woods & Kim Vo
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On Ornament, and the Aesthetic Original, Original, interrogates ornament as a typology via the use of surface, datums, repetition, reflection, accumulation and subtraction. The elemental concern of the surface or plane is integral to the logic within the project, deployed for display across the vertical and horizontal, merging exhibit, museum and art object. The tension between mass and surface within Stirling’s museum proposals are examined, derived from an inherent relationship with and subversion of their own monumentality. The innate technological nature of Stirling’s architecture is considered as a fundamental component in the operational and aesthetic outcomes of the exhibition. Venice is observed through the use of datums, and heavily ornamented surfaces. The layers of stucco and plaster that are applied and reapplied to the walls, incessantly. Expanding on Peter Fiscli’s stop painting exhibition ‘Rupture 1’ the exhibition considers the uniqueness and destabilization of the art object in both its formal and curatorial strategies. The exhibition proposes a series of interventions, across three floors, theoretically related, yet formally different. The architecture coats, obstructs and at times violently attacks the existing Ca’ Corner building, existing somewhere between the modern and the industrial, between Stirling and Ca’ Corner Della Regina. Shalini Rautela
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Wayfinding Plans
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1 Morton Schamberg, ‘God’, 1918. 2 Adrian Piper, ‘Catalysis III’, 1970. 3 Henry Flynt, ‘Down with Art!’, 1968. 4 Henry Flynt and Jack Smith, ‘Protesting at MOMA’, 1963. 5 Daniel Buren, ‘Hommes/Sandwiches’, 1968. 6 David Hammons, ‘Pissed Off’, 1981. 7 Robert Rauschenberg, ‘Digitally enhanced infrared scan of erased de Kooning Drawing,’ 1953. 8 Louise Lawler, ‘Chicago,’ 2011. 9 Francis Picabla, ‘Tableau Dada,’ 1920. 10 James Clerk, ‘190’s print from negatives,’ 1861.
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1 Paul Delaroche, ‘Cromwell and Charles’, 1831. 2 Morag Keil, ‘Eye’, 2018. 3 Pinot Gallizio, ‘Le acque del Nilo non passarono ad Alba’, 1958. 4 Jim Shaw, ‘White Wolf and Moon’, 2020. 5 Jim Shaw, ‘Futuristic Mushroom Meditation Buildings in city park’, 2020. 6 Jim Shaw, ‘Abstract Shapes and Olive’, 2020. 7 Ben Vautier, ‘Buvez Coca Cola frais’, 1960. 8 Genoveva Filipovic,’Untitled’, 2016. 9 Francis Picabla, ‘Point’, 1951. 10 Francis Picabla, ‘Solells’, 1949.
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1 Reena Spaulings, ‘Gate 1,’ 2018. 2 Gene Beery, ‘Out of Style,’ 1961. 3 Martin Kippenberger & Albert Oehlen, ‘Orgonkiste bei Nacht’, 1982. 4 Gene Beery, ‘Watch this canvas,’ 1960-61. 5 Marcel Broodthaers, ‘Dix-neuf petits tableaux en pile,’ 1973. 6 John Bladessari, ‘What is painting?,’ 1966-68. 7 Gene Beery, ‘As Long As There Are Walls There Will Be Paintings!,’ 1986. 8 Karen Kilimnik, ‘Hane Creep (druids)’, 1990. 9 Merlin Carpenter, ‘The Opening: Intrinsic value: 5,’ 2009. 10 Jean Tinguely, ‘Meta-Matic No.6,’ 1959. 11 Puppies Puppies, Painting to Pay for My Healthcare, ‘Anxiety’, 2019. 12 Michelangelo Pistoletto, ‘Vetrina (Oggetti in meno)’, 1965-66. 13 Theaster Gates, ‘TarMop and Bucket,’ 2016.
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Q &A
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What did you find most challenging when working with Stirling’s material from the CCA archive? Not having known much about Stirling to begin with, I think primarily familiarising myself with his practice and the deep layers of his conceptual thinking. Also, not getting caught up in the bold formal gestures (form and colour) in the genesis of the work, by understanding what else is at play underneath the surface. Do you think Stirling is still relevant for contemporary discourse? Why or why not? Yes, I think mostly anything can be relevant for contemporary discourse, when something is not simply represented in its existing state. Ideas can constantly morph and be reapplied to the contemporary. Like Stirling looked for inherently modern elements in historical and classical architecture, there are so many elements of Stirling we can look to and reapply to the discourse. What are the challenges of thinking about the museum beyond a container for art? What is exhibited and what does the exhibiting in your museum project? Is it that simple? The museum is an institution, with so many deeply embedded societal and cultural values, for example, Rosalind Krauss speaks about the ‘cultural capital’ of the museum in the sense that the museum is a marketplace for the trade of artifacts and the social and economic success of its artists. Since art is a vessel through which to observe shifts in culture and thinking, the Museum, although not immediately responsive, so too, carries these complexities and shifts. I’d like to think about the exhibition and the exhibiting as a merged entity, in that although the art from the ‘Stop painting exhibition’ is explicitly present, it is inextricably linked to the architecture and surface interacting with the work. What are the challenges you have encountered when working with the Ca Corner building? E.g. the Venetian context, the architectural ornamentation, the spatial structure, etc. How did that challenge inform your approach to the museum? The History of Venice and its classical architecture is such fertile 18
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ground on which to deploy a project. However, I found it easy to get caught up in the complexity of say, the architectural elements, the ornamentation etc. There are an infinite amount of things that could be explored here, dealt with, but I guess what is essential in dealing with the varied conditions of site and culture, is developing a logic, or a specific set of ‘attitudes.’ Knowing that you don’t have to acknowledge/touch everything. Also realising that although historical architecture in itself almost feels like this architectural condition around which one should tread gently, it certainly doesn’t have to be that way. Considering the role of technology in exhibition design, is this a concern for your design? If so, in what capacity? The technological aspect of my design is incredibly important. At first, my material strategy of galvanized and brushed steel was a way to showcase a gap in the economic ecology of the venetian museum, particularly the heavy ornamentation, carved stucco and fresco. Further, Stirling’s archive is a repository for technological innovation, there is an obvious connection here and a capacity to engage with display technology within the museum. All of my architectural responses engage with innovative, and at times banal display technologies as part of the architectural apparatus. Does this idea of exhibition or display technology change your conception of museum architecture? I think since working together with the museum, the display, and the archive I understand the potential for these to be synthesised. Before going into the studio I broadly categorized the display technology as separate from the architecture, which I think in a lot of museums is still very much the case. How would you describe an architecture that exists solely inside the museum? How is that different from architecture that exists outside of the museum? An introverted architecture and an extroverted architecture can have equally complex underpinnings at play. I think it’s a matter of choosing what conditions you want to work with and what parameters you have set for yourself so as not to have a diluted 19
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project or one that does not effectively engage with its surroundings. Personally, I think I avoided having to deal with the complexities of the face of the building, with the canal and the surrounding context, purely because I felt like I had so much to work with internally. Has your project for a museum changed your position or attitude to architecture more generally? If yes, how? Definitely, it has certainly augmented my thinking in a variety of ways. This idea of the apparatus - the synthesis of concept, architecture and program, is key here. It is within these relationships that existing elements can create novel conditions. I think working with the Stirling archive and with the Ca Corner building has also changed my relationship with classical and post-modern architecture. In that I won’t be as tentative to negotiate within a historic condition nor will I find a brightly painted giant mushroom column so offensive.
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Archival Materials
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Stuttgart Gallery, Fragmentation
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Stuttgart Gallery, Fragmentation
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Clore Gallery, The Unionising Grid
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Nordhein Westfalen Museum, Solid/Void, Mass/Tranaparency 27
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Works
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Striated Inquisition
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Piano Terzo Sottotetto +2104 cm
Piano Secondo Nobile +1560 cm
Piano Primo Nobile +875 cm
Piano Secondo Ammezzato +544 cm
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Piano Quarto Sottotetto +2540 cm
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A Slight Gesture
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Piano Quarto Sottotetto +2449 cm
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Addition, Subtraction
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Piano Quarto Sottotetto +2449 cm
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Replication + Accumulation Dealing with the horizontal plane as the primary method for the display of works and lighting.The architecture consists of a steel raised floor, consisting of layers of structure, steel, glass and artwork display technology. At its minimum a 3mm steel sheet is used to indicate the surface , the same layers accumulate - structure, frame, glass and steel sheet forming a mass 500mm from the existing floor, including floor lit neon lights. Within the building the floor mediates between mass and surface, users are aware of these transitions through gentle inclines, as well as the visual appearance of layering.
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1 3mm Brushed Steel Sheet 2 Adrian Piper, ‘Catalysis III,’ 1970.’ 3 Goppian Bh2 Anti-Vibration Display Case 4 Existing Stucco and Marble Column 5 Galvanised Steel Temperature Control Vent 6 10mm Neon Tube Light 7 Zinc Plated Hollow Section (150mm x 150mm x 6mm) 8 Lysaght Bondek 590mm Structural Steel Deck 9 Galvanised Universal Beam (250 UB 26) 10 Rubber Footing 11 Existing Travertine and Verona Marble Floor 12 Wooden Planks (120mm x 35mm) 13 Timber Floor Joists (100mm x 190mm) 14 Istrian Stone 13 Clay
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Between Mass + Surface
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On the Threshold of Normalcy First floor deals with the vertical surface and it is my most violent approach to the Ca-Corner and the museum, dealing directly with its surface. I am interested in how this violent act has the capacity to destabilise the gallery, against the phenomenological certainty of the ornamental and spatial givens on the rest of the walls. It is on, above or below the datum where work is hung (work varying, not datum), using a banal display technology suspended on wires from above. The scaffolding system moves alongside and away from the wall, providing enough space for one to negotiate the condition between (e.g.wall+back of painting).
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Datum, Destablized
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BeveLED 2.0 Cylinder, Anodized Finish, Frosted Lens Anodized Aluminium Railing fixed directly to brickwork 5mm Aluminium Thread Kurt Schwitters, ‘Still Life with a Bunch of Flowers and Apples,’ 1934 Goppian Galvanised Frame Case Stucco wall, Sandblasted, removed past the lathing, AFF 1500mm Existing Double Brick Wall (structural) Marble and Lime stucco, layer last applied November 2010.
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Stucco Violence
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Stucco Violence, Frontality
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In Front, Behind and Inbetween The use of reflection and transparency as a means to interrogate ideas surrounding replication, ornament and mass.The apparatus consists of a scaffolding system, integrated lighting and reflective glass. The apparatus aligns with structural logic of the floor exposed beams, the same logic replicates in each room, artworks being the defining factor. The scaffolding extends and negotiates within the space vertically, at 500mm wide, the walls teter between mass and transparency. A compression of space facilitates views in front, behind and in between the art and the apparatus.
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An Intersection
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Existing Timber Ceiling Beams Viridian EVantage Clear Reflective Glass, 25mm Galvanised Steel Plate, 25mm SHS scaffold (50mm x 50mm), welded. Steel Glass Frame, Black Powdercoated. Galvanised Steel C Bracket, 25mm Galvanised Steel Angle Bracket, fixed to glass and scaffold. Goppian Galvanised Frame Case, Screwed to C section. Wade Guyton, ‘Untitled,’ 2017.
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Transparency
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Past and Future, Superimposed
On Ornament and the Aesthetic Original, introduced three contemporary mechanical systems into the historical Baroque style palazzo, Ca’Corner della Regina as exhibition devices which interrogate the intricate relationship between museum architecture and the exhibited objects inside. Instead of trying to achieve synthesised unity, Shalini embraced and even amplified the abrupt contrast between the new high-tech systems and the classical context by superimposing and embedding new functions into them. At the first glance, the new systems seem to be alien to the classical space, as the shiny metallic material and exposed structures proclaim a connection to the post-industrial technologies and futuristic aesthetic of Stirling. The details such as slide rails, scaffolding and clamps express contemporary lightweight construction, forming a stark contrast with surrounding stucco walls and concrete columns. However, there are inherent linkages between these elements and the Ca’Corner building at a play here. For example, the curved slide rails resembles the Roman arches that exist within the building. By rotating and scaling, this language of arches extracted from the sections and elevations of the original building is now adapted into the horizontal plans and endowed with the new function of art display. As the new systems inconspicuously refer back to the classical context, the past and the future of Ca’Corner della Regina as a museum is superimposed and presented to us. The mass of and highly ornamented surfaces of the original context were demolished where applicable, so that an alternate background could be provided for the displayed artworks. Some artworks even appear to be floating, as the solid walls and floors are partially replaced by spatial assemblages of steel and transparent glass panels. The scaffolding apparatus is almost a metabolism in terms of its prefabricated, mass-produced and replaceable units. In other words, the classical Ca‘Corner della Regina is contested by introducing the contemporary design vocabularies and machine aesthetics. 68
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As a curator, Shalini included artworks on various media, from enamel paintings on canvases to photography, and 3D physical models like the “Bauhaus” telephone as well. This dispersing development pattern of art is recorded in the exhibition by juxtaposing the artworks on different media together in one room. This project offers us a very unique experience both spatially and visually, which is almost like time travelling, for the fact that we can identify and interact with epitomes of both the past and the future of the museum, art and exhibition at the same time. As the past and the future overlap in front of us, we begin to see the connections in between. - Ruoyun (Rita) Xu
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Appendix i Phase 1: Object
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Compression
Compression, aims to interrogate the tension between the mass and thinness of ornamentation. The existing mass of Verona marble in the doorway thresholds of the Ca Corner building is collapsed into a thin surface of veneer. An ornamental layer independent of the walls functionality or structure using an existing material logics articulated in a new way. Here the marble veneer negotiates a threshold, collapsing mass into surface, whilst blurring the intersection between floor, wall and threshold.
Index: Phase 1, Object 1
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Fragmentation
Fragmentation, acknowledges the fracture of facade and ornament in both Stirlings work and the existing Ca Corner building. Via reflection, the stucco is projected onto the object, delaminating the wall into a series of layers. Frontality is important here, from both sides the object is compressed into a series of frames. The object considers a new experience of existing Ca Corner elements and its own capacity for display in the modern museum.
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Optimization
Optimization, departs from Stirlings use of the regular unionising grid by considering the grid as an effect, derived from relationships that develop between structure, services and lighting. The object seeks to rethink conventional institutional form through a field of exposed elements usually concealed behind plaster or stucco. Through an act of reveal the object considers ornament pertaining to the essence of the building’s structure and function.
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Object 1 Process
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Appendix ii Phase 2: Museum
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The Museum Week 6
A continued exploration into the compression of ornament. An interrogation into the tension between the solidity and thinness of ornamentation within the Ca Corner. The existing mass of the marble in the doorways/thresholds of the building, the mass of marble is fragmented and collapsed into a thin surface of Terrazzo veneer. A ornamental layer independent of the walls functionality or structure with an aesthetic and process of articulation familiar to the existing ca-corner floor, but differing in scale. Here terrazzo negotiates a threshold, collapsing mass into surface, whilst blurring the intersection between floor, wall and threshold. Here I was interested in using an existing logic in the museum, insitu marble versus the veneer in a series of layers that would accumulate over time. In venetian architecture and the gallery, there is a constant whitewashing of walls through the reapplication of stucco and plaster. Inherently, these layers become visible, as the marble accumulates. This presents new spatial implications for the space as exhibitions move through, leaving an indelible mark.
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Surface & Accumulation
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In continuing to interrogate ornament within the Ca,Corner since mid-semester, and what it means in the Context of Stirling’s work, I began thinking about the minimum condition to constitute an ornamented surface. I started by looking at the compression of existing marble, but what I arrived at was thinking about the application of stucco or paint, in essence colour as the most compressed form of ornamentation. This Iteration considered a series of interventions within the Ca Corner that looks at the accumulation of the surface in particular moments. These accumulations reinstate ‘ornaments’ thinnest possible layer as a mass, which has operational qualities for both the understanding of the architectural element in question and for display within the museum proper. The material strategy here uses a standard MDF, an off the shelf product, with a thin layer of ornament applied to its surface. And the idea is that rather than changing the existing architecture, the spaces can be augmented through layering. Both interventions use the logic of the ceiling and floor grid and the standard sheet size in thier assemblage. From one aspect the ends of the mdf sheets are expressed, revealing the layering of surface, from the other, the surface of the sheet reveal the object as a mass.
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LEVEL 2
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Here, the element of the ceiling is acknowledged. I’ve considered the history of false ceilings in Venetian Architecture and their historical use as a display device, Leveraging the exposed beam structure on the second level, the suspended object compartmentalises the central gallery space, whilst framing plinths below. In this instance works may be displayed on the surface of or below the suspeneded object proper.
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The Threshold
Here, the element of the doorway is considered. An existing threshold within the Ca Corner is extended, and the aligned openings within the building are exaggerated. The object acknowledges its potential for both static and transient observation, with works being able to be displayed on its outer surface or within the threshold whilst one passes through. In this instance the exsiting circulation through two dorrways are obstructed and coated, creating two new surfaces from the Piano Nobile aspect.
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The ‘Stop Painting’ catalogue brought an interest in Peter Fischli’s first rupture, which begins to question the uniqueness of the art object and the originality of the author. Rosalind krauss expands upon this idea of replications and reproduction in the Cultural logic of the late capitalist museum, which challenges the idea of the artwork as an ‘aesthetic original.’
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At this point, my explorations into using MDF seemed to have reached a limit. My interest in using purely mdf was to showcase the gap in the economic ecology of the museum, however, with further consideration I was able to negotiate the same territory in another way. The use of steel and glass still honours my interest in using an exhibition material in this way. Further, I am interested in its relationship to Stirling’s aesthetic and technology. For me, steel represents a somewhat neutral ground, emblematic of the modern and the contemporary, but widely used so as not to have a authoritative meaning.
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Second Floor Plan (1:200): the ceiling, replication through reflection, flattening of object mass to surface
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After developing and deploying a logic for the ceiling on level two, I began planning logics from the remaining two floors within the Ca Corner building. I have been considering each floor to be theoretically related yet formally different in the interrogation of ideas surrounding ornament and replication. I was thinking about the apparatus spanning the floor, wall and ceiling within the Ca’ corner building. The first floor uses a series of scaffolds and a continuous datum of ornament removed from the wall. The ground floor an apparatus compressing art, architecture and exhibition into the floor.
First Floor Plan (1:200): the wall, the curated view, presence/absence, replication via an artworks process, single work replicated
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Ground: the floor, replication using colour and its disassociation from a unique assemblage Ground
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Venetian Architecture
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Transparency
Transparency: Literal and Phenomenal Author(s): Colin Rowe and Robert Slutzky Source: Perspecta , 1963, Vol. 8 (1963), pp. 45-54 Published by: The MIT Press on behalf of Perspecta. Stable URL: https://www.jstor.org/stable/1566901 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms
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The Grid
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The Bricoleur
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Bibliography
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Allen, Stan. Stan 1996. Field conditions. Architectural Design, 66, pp.21-21. Foscari Widmann Rezzonico, Giulia, and Rem Koolhaas. “Elements of Venice .” Zürich: Lars Müller Publishers, 2014. Print. Hamlyn, Robin. “The Clore Gallery for the Turner Collection at the Tate Gallery.” International Journal of Museum Management & Curatorship 6, no. 1 (March 1987): 19–36. doi:10.1080/09647778709515049. Lavin, Sylvia. “The Temporary Contemporary.” Perspecta 34 (2003): 128-135. Lawrence, Amanda Reeser, and James Stirling. “James “ Stirling : Revisionary Modernist.” Yale University Press, 2012. Papapetros, Spyros. “Ornament and object-ornament as object.” Journal of Art Historiography 7 (2012): 1. Peltomäki, Kirsi, and Michael Asher. “Situation Aesthetics : The Work of Michael Asher.” MIT Press, 2010. Rowe, Colin, and Robert Slutzky. “Transparency: literal and phenomenal.” Perspecta (1963): 45-54. Tafuri, Manfredo. “L’architecture dans le boudoir: the language of criticism and the criticism of language.” 1974. Vitruvius, and Morris Hicky Morgan. “The ten books on architecture.” Dover, 1914. Vidler, Anthony. “Losing face: notes on the modern museum.” Assemblage 9 (1989): 41-57. 206
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