While going through the white book, ideas popped up and I’m beginning to visualise what the archipelago might be or look like!
For now, some statements I wanted to get out here and expand on, crystallise later.
Thinking of Judd as an artist who misunderstood or misidentified architecture as something necessarily regional, which is fixed in place and fixes things in place. He didn’t see that actually this aim has ” long since drifted off”. Let’s make Judd the character of my narrative, make him the event. An absurd example…. I can see Judd in the predicament of dealing with Allan Kaprow’s piece:
Maybe then Judd helps provoke the archipelago, also using ‘techniques’ from the Berlin photographic experiments.
Completing the object
Incorporating my previous thoughts ( previous post), the last chapter which was blank : “PROJECTING” takes place at the moment of death – archipelago is permanently formed. We are only left with the traces as the author is gone. This leaves the room open to appropriation and reassembly – creating new narratives through extending, joining, completing, breaking or digging. That’s when the archipelago becomes image.
If I take Judd as a character whom is part of the field which crafts cultures in rooms, then the story begins in the room.
The architect is in the room.
Room is in the object. Collecting
Object is in the factory. Sedimenting
Factory = archipelago -> creating the site in the mind; which in turn, at the death of the architect, provokes the image. Projecting
I’m not sure if it makes sense yet in writing but drawings will follow and I think the tutorial talk could be exciting!