Fragments of the Target

Hourglass and Labyrinth

by Van VanGorder
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Fragments of the Target

I am always interested in the Archilovers site as a space to build into and the projects that motivate me here are The Honore deBalzac Highschool by NBJ Architects and the

 

Villa Delta by DAP architetcs. They share a space made kinetic by the viewers  movement as compressing or decompressing space much as in the early Modernist works by the “kinetic”sculptor Jesus De Soto who rather than creating moving parts or machinery made ensembles which remarkably similar to computer art in feeling were profoundly  sculptural and developed existing space into an experiential field of a kind of slippage brought on by the comport of the viewers developing or cutting the visual axes through a passage which in relation to evident cues differed in quality from the traditional inroads prepared by the processional plan even as drastically opened out by say Wright.

Similarly, my drawings here are somewhere between Duchamp and Ronschampe in terms treating a visual field as the siting of the senses made somatic and therefore architectural housing the discursive element as discourse, by definition a building up process which amplified and emphasized makes some issue of the confrontation which may or may not suggest a centrality between the deus ex machina of technical identification and the deixis of contextual elaboration testing the tensions between tableau and environment.

In the Balzac High School the viewer masses color cues into the divisibility of encountered space, in The Villa Delta a hyper attenuation of perspective cues  excavates from the pavilion the cutting edge of its own siting which become a perspective not arrived at by now a cutting tool, a carving mediation of the field, blending excavation and quarrying.

In my work the theme of the sphere and the labyrinth are discursive to an hour glass formation in relation to a ramp which create an osmotic sense of spacial arrival. This complication of transparency makes the drawing motion of engaging and disengaging the language prosody which in the presence of the picturesque world is at the same time receding into a poiesis behind any poietics.

 

Fragments of the Target
I am always interested in the Archilovers site as a space to build into and the projects that motivate me here are The Honore deBalzac Highschool by NBJ Architects and the Villa Delta by DAP architetcs. They share a space made kinetic by the viewers movement as compressing or decompressing space much as in the early Modernist works by the “kinetic”sculptor Jesus De Soto who rather than creating moving parts or machinery made ensembles which remarkably similar to computer art in feeling were profoundly sculptural and developed existing space into an experiential field of a kind of slippage brought on by the comport of the viewers developing or cutting the visual axes through a passage which in relation to evident cues differed in quality from the traditional inroads prepared by the processional plan even as drastically opened out by say Wright.
Similarly, my drawings here are somewhere between Duchamp and Ronschampe in terms treating a visual field as the siting of the senses made somatic and therefore architectural housing the discursive element as discourse, by definition a building up process which amplified and emphasized makes some issue of the confrontation which may or may not suggest a centrality between the deus ex machina of technical identification and the deixis of contextual elaboration testing the tensions between tableau and environment.
In the Balzac High School the viewer masses color cues into the divisibility of encountered space, in The Villa Delta a hyper attenuation of perspective cues excavates from the pavilion the cutting edge of its own siting which become a perspective not arrived at by now a cutting tool, a carving mediation of the field, blending excavation and quarrying.
In my work the theme of the sphere and the labyrinth are discursive to an hour glass formation in relation to a ramp which create an osmotic sense of spacial arrival. This complication of transparency makes the drawing motion of engaging and disengaging the language prosody which in the presence of the picturesque world is at the same time receding into a poiesis behind any poietics.

In a sense the terministic screens of a world seen through language, necessarialy so due to the embedding of the semeiotic within the phenomenological touch in this project on the "tilt test" or subjective relation of tangents which the famous psychological test pairs between the potentials of evaluating the spatial diagonal of a tilt as between the objective existing ground and the perceptually isolated field. The ramp serves as this spatial extension and cuttage of the diagonal as a symbol for space.

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