_On Material Enthrophy // Geometry and facting can be used to channel elemental forces that subsequently act on the building, creating lines of rust, decay and maybe melts. // Visually this can be used to emphasize contouring and depth, not unlike how a pencil shades.
_On Mies // His forms were planes floating in the air, a proun in stable equilibrium held up by lines. The spatial proportions played through, from facade to interior letter boxes The qualities of this were achieved by detailing edge definitions, hiding connections as well as the material finish, which hid in the shadows and shone bright in the light: it picked up the tones from the surrounding colours, colour runoff. // The material was inbetween a matt material and a pearly gritty finish that flirted with the light. The interior was a muted wash of orange light: a warm colour temperature that contrast with the cold exterior that caged it.
_On Silhouettes // There is a visual game between opacities, the forms they veil and unveil and on a secondary filigree that is a cacophony of lines, nest like, that wraps it. Order and disorder. It flirts between expectation and anticipation.
_On Wildness // It seems that the Igualada Cemetary is actually a surprising precendent for manicured wildness. Cuts, tears and holes: oscillating light levels or dark and light. Two intertwining bodies: synthetic and controlled, curated and wild. What this means is one is where there is shopping, housing, all the civil programs we have come to know as associated to the city. The other is a winding route, partially an accident from the fall out between the new and the existing. what this means is I need to define a larger territory, and then reduce it. (whatever that may mean, at this point). // Could the THICK wall be made of garbage? The point is that it could be something that grows with time, like flubber. What will be interesting is when they encroach upon each other: entirely filled up. Could it be used as formwork? A residual imprint. What material would be interesting?
_Halfway Observations
//The two boys self-consciously explored each other. Their implicit submission to each other was painfully obvious to everyone but them.
//Her berber blue blousen dress accented her skin subtly. The silhouette of her high-waisted puffy pants echoed the silhouette of how her hair fell which silhouetted the shape of her soft face. She also played the cello and laughed like one too.
//It was hard to regard her with any preset assumptions. I liked the strangeness of her: it wasn't subversive or reactionary, just raw and stripped. She was sensual without being sexual and perhaps its because of the matter-of-factness and almost machinic precision with which she treated her body- no smirk of self-satisfaction or strain of effort. It forced me to regard her body as a thing- a material thing that moved and had shape and texture. History without baggage. Maybe that is what experience is.
I should get to writing an obituary or memoriam soon. and a call to Yoon is owed. The Peter letter will be finished in the plane.