Architecture is a choreographed preoccupation of the mind’s eye within time and space, but seldom ever produces an arrangement entirely fixed infinitely, in the cosmos. The notion that relinquished design and form, being produced as the collective, new, Utopian latent formula (as spatial solution), is merely the same tale of a very tall building having a purpose with an actual thirteenth floor… It is a healthy illusion, however deceptively it is skewed and perhaps collapses by its own mathematics, or when acted upon be revolutionary idealism.
I wish to celebrate the disjunction and the malaise within the precepts of modern
architecture – especially that which is beyond Dystopian places and storage of commonplace follies. Dissociative identities, in architecture, can come out of every direction in the misfits, as in my case, wishing to be a next Frank Gehry, Daniel Libeskind, or Antoine Predock. A potential identity is a surface from my own tension developing, while being confronted by what designs I will contemplate soon after I re-enter professional architecture production studios. This is very much the case now as I study in my second year at the RIT masters of architecture. I am having to create a place that I bypassed, and fearing that perhaps I will do less if the world collapses from global catastrophes. So, contemplative constructs inadvertently must then be coming from my collective unconscious of what I’m now designing, and the built instruments of my environs allow for their temporal placement. I feel that this is only to be an organic way of thinking, it is geocentric to where I am, and acts as a hyper-model (or reflective spherical orb) – as a placement influence: to further define its sequences in the genius locus.These are merely daydreams and inconsequential delay buttons I continue to hit, like the snooze bar of an alarm clock.
Potential aspects of my unincorporated dreams (of all the non-corporate posts) I have (or have not) held, are perhaps the instinctual sequences I am utilizing to catapult me into an abyss. Drawing, daydreams, 3d absorption levels into the computerized darkness, can mesmerize me into many extremes of a creative pandemonium. Sometimes, when I draw, or design something from scratch, I let myself go into a trance and allow form to evolve from unknown states of mind. I’ve sometimes worked on volumes and interstitial vocabularies where I imagine synaptic junctions define the next stages if as in nerve regrowth. The chemistry I imagine is what I’m trying to capture most. And of this, I’m able to understand that I’m a creature of creativity. Architectural form is perhaps constrictive and an obstacle, if I am in this dream.
As a child, and since the age of 2, I grew up with acute astigmatism in my left eye, and I often would squint at things to be sure they weren’t playing tricks on me. Some of the first visual memories I’ve known are the memories perhaps people are horrified by as in hallucinations. Indeed, I know now that they were hallucinations and they would leave me sometimes whimpering in my bedroom, alone, sometimes in the loneliness of night. My mother brought me to an eye doctor, and I was prescribed an eye patch. She also would sit me down and give me crayons to draw with, and I was content with working out designs sometimes 4 to 6 hours a day. I believe I had dedicated a system to ease the tension of my weak eye. It could be that I was fixated on only how the wax medium could make a line on the paper. Apparently I was sold, and the hallucinations appeared to go away.
Sometimes I’m not sure that architecture is even the correct profession for me, although it’s the one I’ve apparently had the most success with thus far. In my work, ‘
architecture‘, as a language, which is currently being de-constructed, or re-purposed, from all past histograms – is the epitomized poetry: “train of thought”. My philosophical approach to a design must always be in gestalt mode. That is, it is holistically present in intertwined, interchanges of a demonstrable patterned place – dissociated. The constructs of this, all of which I examine when executing schemata and archigrammata – are the theoretical approach but are identifiably erased as fast as I’m attempting to decipher it… This theoretical approach makes up the architectonic behavior that may often go into the trash, or is tucked away as any given analog item. Often I am surprised when I discover buried information that fits into a future design as if the perfect puzzle piece. So, I feel it’s not at all presumptuous of me to say that I over-produce so that I may develop a pure language of what I may also hope to abstract one day. This method is a compact grouping of information in and of itself. A loose categorical structure of potential archetypes is then available to me. Original significance and a historically combined, preserved space, is the dissociative place in my mind. I and my architecture, hope to be an organized mess – a method that I may offer. Any resolute element of this articulated philosophical reaction is as akin: as eye to a hand:: as a mandible to a head.
Perhaps a well designed building, and usable template, augments a serviceability and a maintained infrastructure possible in all this; is going to also be an association adversely effecting form-function. Other key placement of devices and packaged components must also be designed and built but perhaps a brand new form may eradicate conventional wisdom of device. But it may also depend on if I’m in the computer designing this, or traditionally transcribing in linework with graphite. If, for some reason, my pen had veered off the path, for whatever reason, that dissociative trajectory must somehow also serve to verbalize as in a Columbus’ compass. It must verbally address a solution on that vector, as it may have accidentally been met.
I will, of course, do something within the transfixed directions and building with that (and those lines askew) from an origin. It is possible that this has also happened, many times, when designing on a computer platform, perhaps a whole building and grand scope. Optimally it takes on a curious abstract form, but that is often subjected to the elements of construction, budget, zoning, and code enforcement issues, etc. Still, the next generation of architects must be willing to pay homage to the deconstructivists and misfits, the mad architects and madness of it all.
My brand of doing this is described herein:
Ar(ch)tistry – where social convergences and societal micro-climates are now being (re)fabricated and re-established as new archi-neurological membranes wishing to be re-connected: are therefore re-stimulated and holistic design is realized.
This is preformed by ar(ch)tists. —- ‘Ch’ – Chemistry; Alchemy.