The following experimental video works explore intersections of architecture and space-time mattering and architectural frameworks that are not fixed but exist in real-time. The Material-discursive practices of humans and non-humans entangle meaning in spaces and places. What are the pedagogical actions sedimented in an architectural deep time? How are these disrupted and folded into the now? Artists include Nathan Bayliss, Andre Bordoli, Dawnia Darkstone, Materializing Data, Mark C Ericson, Milad Forouzandeh, David Fodel, Gali Greenspan, Sabrina Ratté, Isabella Uliasz, and Kimberly Willcox.
On view from Nov. 6th-Dec. 6th
Video and Soundtrack composition by Sabrina Ratté
Video HD - 4:34
Original sounds by Roger Tellier-Craig
Aliquid is a single channel video where the electronic signal is manipulated digitally to materialize into synthetic flesh. Slowly landing onto a glass architecture, this undefined substance is torn apart by sharp edges and eventually disintegrates into particules that spread into the atmosphere.
Signals from the rooftop!
Andaruni (Persian: اندروني "inside"), in Iranian architecture, is the inner quarter where the women lived Iranian traditional architecture. It has been described as a harem in Arabic. In traditional Persian residential architecture, the Andaruni is a part of the house in which the private quarters are established.
This is specifically where the women of the house are free to move about without being seen by an outsider (Na Mahram). This is also the place where women can interact with their kin (Maharem) without following the dress code or without wearing the Hijab. There was also a closet-like space called "Pastoo" which was a small room being built behind another one to keep the precious things inside. It was actually one of the most private places in the traditional houses of Iran. In a 3– month quarantine caused by Covid-19, I was looking for psychological safety in my apartment, a place which has been physically omitted in Contemporary Persian residential buildings. Psychologically speaking, the space inside my apartment seemed to be getting smaller and smaller! During these long hours, I was just sitting at my computer terminal and staring at the cloud storage I had access to virtually. These spaces were filled with the most private and even precious information and things I had saved and through which I was trying to expand my apartment space in different aspects. This project is a journey seeking to create, connect and remind the audience of a sense of psychological security, from “ physical space in the past architecture” to a “ transformation in the contemporary architecture” and a trust in “ cloud spaces” as the structure of virtual architecture.
The Two Dimensional Orthographic Projection of a Semicircle onto an Epicycle of Tori Radially Unrolled
Tractate four of Guarino Guarini’s treatise, Architettura civile (1735), deals entirely with orthographic projection. In “Observation Nine” of chapter three in the fourth tractate, Guarini describes the process of obtaining the drawings for a vault that intersects a cylinder at an oblique angle. He begins by describing the oblique section of a cylinder as an ellipse, referencing Euclid. He goes on to explain that since we can measure the height and breadth of the ellipse in the orthographic drawings, we have the information to construct the ellipse that is the section through the cylinder at the plane of intersection. He also provides a template for the ellipse and instructs the reader to make a drawing instrument out of “strong card” using the template as a guide. Guarini utilized an argument from Euclid to create an instrument that draws curves specific to the angle of incidence between a cylinder and an orthographic projection.
The drawings included in this page, are part of series that translates the written and drawn instructions from the fourth tractate of Architettura civile, into a set of repeatable procedures that vary over time. These drawings use the techniques of “Observation Nine” to orthographically project a semicircle onto tori moving about the minor and major orbits of two epicycles and one hypocycloid. The tori vary in height, orientation, and radius over time, producing differing toriodal sections. Whereas Guarini produced a single static template, this drawing utilizes the same techniques to produce a set variable toroidal sections. Importantly, like Guarini’s work this drawing is confined to the use of points, lines, circles, and ellipses on a two-dimensional plane. There are no three-dimensional objects, surfaces, or curves of any kind. Each drawing is an orthographic projection.
This particular series unrolls each projection perpendicular to its radial path of movement. Furthermore because projections 360 degrees from each other would be identical, the process of unrolling is limited to 180 degrees.
LISTENING PARTICULES is an audiovisual installation that explores the role of sound as an element of the landscape. In particular, the piece focuses on the territory surrounding the European Organization for Nuclear Research (CERN) is located: an agro-industrial land at the outskirts of Geneva that covers and crosses the Swiss/French border.
One of LISTENING PARTICULES' key elements consists of the engagement with the question of visibility and invisibility; notably, the installation explores the capability of sound to evoke CERN's invisible network of underground architectures and infrastructures. The question of visibility and invisibility also applies to the nature of CERN's quantum physics experiments themselves, which can be seen and represented only through technologically-mediated modelizations. In the project, these models and digital images are juxtaposed with the agricultural landscape above the ground, creating a superposition between these different elements of the territory.This piece has been presented in November 2019 during the Swiss Anthropological Association annual conference, held at the Graduate Institute, Geneva.
The sketchup animations is a series of short videos of movments inside models of spaces that was created by visual data from my home.
The data becoming 2D surfaces open the posibility to the real to be influenced by the program and its rulles and logic.
The new logic brings defoemations, attachments, gliding. Changes of scale in an endless space that is always light and sharp and free of physical nature rules. This series of animations, created in 2015 (below) is a fantasy of a mixed space of the studio and living room
Plaster, Family Photographs, Putty Knife
A video performance about domestic and generational traumas and the ways that architectural space can harbor energy and tension from those events. It is important to note that this work exists primarily as a video installation, projected at life scale on a wall.
Nimitta - a realtime exploration of form, and interference. A collaboration between sound and image, in the context of an imagined space — in-forming itself as the trace of complected forces — not only the outward manifestation, the reulting artwork, but the process of collaboration itself.
Lockdown AR explores the invisible tensions experienced through the recent months of lockdown within the setting of the artist's own domestic environment. The artist has created a "living archive" through the use of digital forensic techniques to create a collection of spacetimematterings, engaged with through the AR portal.
Inspired by the work of Karen Barad, the methodologies and practice of Forensic Architecture and the cinematography of Alfred Hitchcock the work aims to give both the artist and the audience a new perspective on this time, and provide a valuable archive for the future of this liminal moment.
I Invite You Over for Video Games But We Get Lost [ASMR]. An invitation to the other side of the apocalypse.
Carbon Topographies is a global animated time series employing data from climate model outputs that seeks to make tangible how the Earth’s atmosphere has been transformed by fossil fuel and other greenhouse gas emissions. The data derives from Carbon Tracker an open source CO2 measurement and modelling system developed by National Oceanic and Atmospheric Administration (NOAA) *.
The particular data sets used in the animation cover emissions from fossil fuel, agriculture, and forest fires covering a period from 2019 to the present date. The animation is part of a wider project examining how climate data can be used to articulate the expropriation of the atmospheric commons to drive global economies of continuous expansion. Climate data, provides insights into a range of invisible phenomena describing vast geological timescales, complex system interactions, atmospheres, biotics and other planetary inscriptions. But this information also functions evidentially as a historiography of extractivist, social, political and material relations which thread and transform a commons of atmosphere, land and sea. Our project through experimental art practice examines how this data can be turned to a legibility of these phenomena. Research involves understanding and interrogating large-scale climate data sets and models; theorising and situating research in broader discourses; employing emerging technical forms including satellite and AI imaging, and developing material manifestations and mappings of climate data through art-making. More details can be found here: Materializing Data project at the Manifest Data Lab https://www.manifest-data.org/ *data citation: Jacobson et al. 2020, http://dx.doi.org/10.25925/39m3-6069
Through the Rain
Through Rain: A spatiotemporal environment, located beside a body of flowing water, which transforms into a realm comprising rain, glass, and reflected light. The reflection-realm generates new relationships to the physical senses and suggests a transition from origin to elsewhere, but each location lacks firm edges and spills into the other. Rather than
two autonomous environments, this realm embodies space like a stream. The current is always in front of you, but the water you saw a moment ago is now gone.