> = < (convergent – parallel – divergent): 110418

…seemingly random but structured patterns strike a resonance within us, for our ‘internalisations’ may be built on similar ideas – a kind of haunting, of interior space being made external, of buried archetype surfacing. The whispers we hear will sharpen our intuition.

- Cecil Balmond
Informal, The Chemnitz Solution

Your final review is Monday April 25, 1 - 6pm. Plan your time carefully and work efficiently during the next week. Continue refining the material execution of concepts while developing final presentation materials. Do not simply remake what you already know.

Final Requirements:

braided river image
river mapping
group landscape, securely attached to white painted plywood base
relevant group unit and strand models
group material analysis drawings
Octavio Paz poem with selected vocabulary highlighted
text mapping
exquisite corpse writing with extracted text sequences clearly indicated
sunlight study filmstrips
sunlight filter model(s)
tracking document
relevant intervention study models
1/4” scale model of intervention in landscape
1/4” scale horizontal and vertical sections of intervention in landscape

All drawings, diagrams, text and images must be laid out in Illustrator and plotted on horizontally oriented, 36" tall sheets. Mock up your entire presentation before printing.

ALL PLOTS MUST BE SENT BY 12 NOON ON SUNDAY. Finish your drawings first and leave the completion of models for Sunday afternoon and night.

Compose and rehearse your verbal presentation; it must be precise and concise. It must describe program how and the intervention responds to program. Trace a coherent line of thinking through the entire semester. Presentations need not be chronological. Focus on latest drawings and models while using earlier work to support the current position of the project.

Final Jury:

Kutan Ayata, Jeremy Carvalho, Michael Chen, Jason Lee, Erich Schoenenberger, Aaron White

studio description......................

Jorge Luis Borges’ short story, The Garden of Forking Paths proposes a model for the world composed of multiple splitting strands. In the story, temporal strands form “a growing, dizzying web of divergent, convergent, and parallel times.” This notion of convergent, parallel, and divergent strands served as a model for spatial explorations in the studio. Work began along two parallel tracks: a modeling exercise based on cutting extruded wood molding profiles and re-assembling them into strands with variable curvature, and a mapping exercise studying the organization of a braided river. Together, these exercises led toward building a braided field of strands.

Once braided, strands produced a landscape of nascent surfaces and quasi-interiorities. When viewed in terms of site / intervention or landscape / inhabitant, these surfaces and interiorities were seen to have effective and affective potentials. As described by John Rajchman, effective potentials are grounding; constructed qualities of surface, enclosure, and atmosphere suggest a level of stability in the earth. Affective potentials are ungrounding; they suggest open-ended trajectories of bodies in space. As such, landscape and intervention operated in concert to produce effect and affect in strands of space and time. Final spatial propositions were not attempts to insert movements or narratives into a preformed framework, but sought to release figures from this type of prescription and allow them to navigate alternative paths.

> = < (convergent – parallel – divergent)

110418 - final

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