Fact 1: Scale cannot be perceived beyond a certain size
Fact 2: Space could always be reprogrammed
Fact 3: Blowup creates ambiguity
Fact 4: Photographs can distort reality
Fact 5: The writer elicits significance from things that need to be seen, while the architect does so from those already seen
In-between absolutely has to be the size of Grand Central Station, for one because the celestial ceiling of the main concourse depicts the zodiac. The view is of the Mediterranean winter sky with 2,500 stars, it is painted backwards, maybe because it’s from God’s vantage point, (it’s good to not feel alone in my narcissistic journey). There’s also a small hole near Pisces, where a rocket was hung in 1957. That Redstone rocket was meant to boost American morale after the Soviets launched Sputnik.
Today the station filters 75000 commuters daily, however it is also one of the most visited building in NYC. A generic non-destination place was converted into a distention by acquiring an identity/brand through the hand of the architect. Today I want to take the door to finally arrive.
The stage has no scale until the actor arrives. Much like each of the plinths in Yamasaki’s gridded city. Ever wondered what Yamasaki’s gridded city would have looked like if each of the plinths had been drawn to the same scale?
Perhaps this plan can be used somehow to inform the plan of the stage…