My project is titled between mind and matter- And I believe the work of the architect is a negotiation between desire and reality. This shadowy region is the space that the surrealists sought to fill in the 20’s 30’s, but did not go far enough. Architecture then, was occupied with formal and technical breakthroughs, leaving no room for questions about the unconscious. The questions that remained unanswered, I raise again now. When technological inventions have been embedded into the routine of everyday design, we can go back to probing the very nature of architectural experience by rejecting the cult of the object and embracing the image.
The image is the dominant medium to conceive and perceive architecture, and hence this project makes the image operative, in order to define the space between idea and materiality, the grounds of the paper project. The project aims to bridge the divide that separates the intuitive and unconscious processes of the mind with the material spaces of production.
How can we collapse the dualisms that limit architecture where individual and collective desire, past and present, representation and reality exist on equal terms?
The project proposes a form of factory that is activated by perception. Referenced from the 19th century theatre illusion, peppers ghost it uses a 45-degree plane of reflection to project phantasmagorical images into a stage set. (It operates as the ideal precedent for me as it collapses the technical production, in this case the theatre, with the powerful illusion.
In literal terms, the foreground acts as the space of ideation, or the mind, the middle ground as the space of production or matter and the inclined plane as the image, that collapses mind and matter in order to create the image.
The factory is adopted as a means to challenge its associated conventions of production, where logic, scale and linearity are not the terms that define it’s output. Factories regulate the standards and measures of matter we use in order to construct architecture. To quote Walter Benjamin “the culture of an epoch is defined through the production methods of its time”. Therefore in order for the architect to remain relevant he must be inserted into the space of production.