The Art of Panning.
. Figure .
As much as the 19th century Arcade created the Flaneur and the 20th century high-rise introduced the Gazeur, the digital age we live in today sees the emergence of yet another man, we shall refer to him as the Panneur.
. The Endless Debate .
The Panneur has stop to sort out the world and now scans through it, meaning that he has lost the capacity to digest information and therefore contiguously gathers it rather than continuously understanding it.
This phenomenon finds a direct impact in today’s architectural discourse, where the canonical debate on Figure and Ground can no longer be sustained. Black and White have become irrelevant to the Panneur’s eyes, for he evolves in a society completely filtered from private/public debates, cleaned from solid/void discussions and removed from past/present/future sequence. The Panneur, floating over the Atlas of the world, has an urge to built what Nolli forgot, what Piranesi omitted, what LeCorbusier destroyed and what Koolhaas failed to rescue: the White.
. Impossible Whiteness .
Once immersed into that apparent blankness, the Panneur faces the sad but promising fact that white is impossible to achieve, as much as a theoretical concept than as physical presence, white is a phantasm that architects have endlessly sustain while rejecting the mindsets embodied in it. The Panneur has reach a point where he cannot understand the possible meaning of the white. For him, white is only a colour, nothing else. It does not mean unbuilt but undrawn, it does not represent public spaces but personal potentials, and it is certainly not opposed to black, as black shares the same obsolescence as white does.
The 21st century marks the beginning of what could be called “third level of globalization”, one that is ruled by the individuals rather than by countries or companies, one where figurative buildings are replaced by figures themselves, human figures. The Panneur represents the paradigm of this new figure, he is the new black sitting within the grounded white and therefore he endlessly scans over the Monochrome Flatform of his mind.
.The Route .
It is Panning that we leave the city centre of Dusseldorf in order to reach the promise land of the countryside, a journey along which the Panneur constructs the Fabrik of his mind, a building as long as the trip itself and as enmeshed as his perception of the world his.