The inkblot is an interesting medium to investigate for describing the creation of the figure and ground. The areas covered in ink, begin to indicate the figure, whilst the spaces around the ink represent the ground. Of course, this relationship is completely reversible, and there in lies the paradox. In a more architectural sense, it establishes the built figure and void. However, what is interesting to note, is the vulnerable relationship that is established here. It needs to be ambiguous enough to allow one to project a figurative meaning on to it, but not too ambiguous that it’s just literally a blot of ink on paper. It works very similarly to the ruin: The ruin must have enough structure left to engage the viewer to rebuild or imagine it, if it remains as just a mass, it does not allow for projection.
In a map such as the Nolli map, what I see as the problem is the meticulous description of the figure and the ground that does not allow for a subjective engagement with the drawing. In the quest to understand and project myself into the city, I would like to investigate the gradual removal of the figure and perhaps the ground, to distort and begin to create my own ambiguous blots of the city.
Whilst the inkblots allow for infinite number of projections, because of their ambiguous nature, the Wittgenstein Duck-Rabbit, drawn by Ludwig Wittgenstein can be seen as two entirely different figures, a duck and a rabbit, but there is a third object that it also exists as: The Duck-Rabbit.
Using Wittgenstein and Rorschach’s work as tools, my pursuit is to create third spaces; this may be a view, an experience, an orientation, a paradox, a threshold, an illusion. Architecture as a result of removal and reversal is what crafts the third space. The line of the mirror acts as a slit, a portico where all reflections converge to reveal an entry into the project.