Orphic M->Orphic Archipuncture

Guggenheim Adaptation Within Cyber Drawing Visual Verbal Doppelganger

by Van VanGorder
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In General I like to design projects using Archilover project as a site environment- on this occasion I relate to the three projects: Magnolia Remodel by Shed Design, Algard Church by Link Architecture and Hazza Bin Zayad Stadium by Pattern Architects. All three of these approach the built form as a kind of perspective object in its own right which generates its environment through the collusion with the participants own bodily encounter. Magnolia Remodel treats an approach porch/mini plaza offset to the building so that the sense of location is generated by this offset perception between where one is and where one might be. The Algard Church allows the object a kind of Torus or self mapping  status as a very fluid object that essentially evades its environment and returns to itself, it creates its own conceptual field.The amazing Hazza Bin Zayad stadium belongs to a theme that particularly interests me: how a pattern block generates a pattern and in turn becomes a pattern block- in this case transgression and contingency in the pattern itself belong to a subliminal chain of signifiers one involuntarily creates with a pattern that is of perspective cues within cues.

In my own project I have taken general shape one associates with the Guggenheim in which a processional is ramped up and has comparative values, is a kind of synecdoche. However I approach the architecture as information architecture in which I embed text and image as doppelgangers somewhat like the Spartan Staff or medical symbol in which a text on material wrapped around grooves in staff then displaced is then in code.

The intent is to discover to what one might call no-space or the detachment of figure from ground in relation to a contrasting conflation of views as two sets of possibilities whose morphological arrows relay an Orphic ethos, a sense of environment as on the one hand a “stain” something which is a tableau or palimpsest, and on the other hand the usage by which as environment is pertains to creatureliness of engaging perception to patterns of involvement.

Along the way then the processional has a monumental aspect, and also a labyrinthean, and these embeddings of trace and rhizome in the virtual space mode of raster and vector create maskings and embedding in the streaming process that contrast with sudden detachment and a kind of flip turn perspective which between tableau and environment is a zone influenced by the concept perhaps of a topethesia- a memory palace subject to the making of the memory. I t is somewhat like an Albertine window not in the sense of Alberti but as Bal has proposed ofProust is the evocation of a place rather than person, that the semiotic and phenomenal place us as persons in the kind of zone like atmosphere by which the Orphic antecedents of Ducham'ps  Anemic Cinema, Dove's offset proto targets and Delaunay's interest in dyes give the sense of an osmotic trace and rhizome, lyre and bow, raster and vector.

 

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