Cognitive psychology points out that you can only think of things that are like something you have already seen or experienced. In that way it is safe to say that everything starts with projection.
In order to work with time locked or stagnant cities such as Rome it is essential to use the notion of projection. Projection is a process of tapping into the subconscious to transfer the imagination of the mind on to externalized matter. In this way, the project speculates on using the Nolli map as a repository of projective spaces. It allows the observer to wander through its many spaces and project their own interpretations and imagination of that very space, in a way unique and distinct to the viewer. Each space is an incomparable, three-dimensional construction by the person inhabiting the space. The curator is the mastermind, carefully orchestrating the experience so as to allow the viewer to engage with the space and predict the form of primary engagement but even he never fully knows the potential of the room, until it is projected upon.
The use of Nolli map and its portrayal of Rome are primary since Rome after all is an archetype. It was the first city to be built, whose structure and typologies resonate in every city we see today. In that way it becomes valuable to project upon the city of Rome, as what is indeed projected on Rome, is projected on any city.
The repository takes the form of a house, built from the foundations of the Nolli map. The house uses three distinct methods for achieving ambiguity, which then lends to the ability to be projected upon.
- Lack of Scale-The lack of scale, creates a sense of estrangement and unfamiliarity that adds to the spaces ability to confound and seem ambiguous.
- Material -The materiality of the spaces, or rendering would further create a sense of detachment.
- Repetition- The lack of a beginning, middle and end, and the removal of hierarchy and uniqueness in objects and space would create ambiguity.
- Lack of Time?
- Lack of function and context
The Nolli map is the site for the house. The map is divided into 12 fragments (this was due to the constraints of the engraving material that Nolli was using) however these fragments surprisingly fragment the map into distinct parts, which subsequently become the various spatial elements of the repository. The house, a repository of projection, is formed of the archetypal spaces that constitute the arrangement of any house, once zoomed out of the Nolli map this arrangement becomes clear.
Frame 1. The Shrine
Frame 2. The Gate
Frame 3. The Garden
Frame 4. The Wall
Frame 5. The Core
Frame 6. The Gardens
Frame 7. The Façade?
Frame 8. The Courtyard
Frame 9. The Garden
Frame 10. The façade
Frame 11. The Nameplate
Frame 12. The Façade.
We enter the house through the various gates of Rome. Each time the point of entry is different, the house has no semblance to that of a typical house, and hence it can be seen as an object in space. The house functions as an analogy to the catoptric theatre as it reflects that which is placed within it. What is placed within it now, isn’t anymore the city, but the viewer, the figure. What he sees in the mirror or the spaces within the house is a reflection or projection of himself. The catoptric theatre after all functions like the inkblot, it only seeks form when an object is placed within it. (needs revision)
Once in the space, it can be projected on in a number of ways. The space can be seen in its entirety, the space can be seen in parts, or the space can be seen in detail. Each room will function on the principle of bilateral symmetry, sometimes we will notice this sometimes we will have to look for it, and sometimes we may never know it.
Still a WIP, lots more to clarify, but its getting there (I Think)…Im now going to define what each room does, and how projection will be used in each space..