Windows Without Buildings Notes, 1
1. Scrimshaw
1.1. Tissue
1.2. Filter
1.3. Mylar
1.4. Matte
1.5. Potential
1.6. Proscenium
1.7. Obscured information
1.7.1. Not a MacGuffin like Pulp Fiction suitcase, but actual crucial construction that is clad with something that it awoke, like a story that avoids its origin but is necessarily contingent upon it
2. Scalelessness
2.1. Unlike an architectural drawing it doesn’t have a scale, at least not a consistent one, or one of use to us, its scale is internal, not referring to what it was (site) or what it hopes to become, but what IT is
3. A wake
3.1. The conversations you wish you had had as you stand over the body
4. Life drawing
4.1. Not a drawing of a building, but like a Rachel Whiteread sculpture of a building that is itself like head cheese or souse, but isn’t solid in a way that defines its exact boundaries, but is precise in the definition of the contents that could approach the boundaries
5. The Owls
5.1. Chance in the arena, architecture is pro-wrestling, choreographed mayhem, but it can’t hold back the incursions of the crowd with folding chairs, cups of beer, etc.
5.2. The owls are the outdoors in the constructed world, the real outside
5.2.1. The coyote in the Chicago convenience store
5.3. PK draws the window looking out of the building you are in into a construction that is ‘the outside’ of that building
6. Things I won’t talk about
6.1. Language
6.2. Cartography
6.3. Situationists
6.4. Scarpa
7. After the drawing
7.1. I often wonder what the next life of the information in the drawings would be, would they require an intermediary phase of working drawings, or are these the working drawings for something unfathomably specific
7.2. PK says “build every line”
7.2.1. But you don’t build the lines that are situational, unless you are constructing a tableau, perhaps the situations are examples, I know that they are vehicles, but how is he to say that the landing of Argonauts could not be replaced by kelp farming
7.3. I wonder what the physical life of what the drawings enable would be
7.3.1. I am sure PK must wonder, and I wonder why he holds it at arm’s length, we know of that fear, see Roosevelt writing
7.3.2. But also it is possible that there is not actually an in-between, that the building must spring directly from these stage directions
7.3.3. It is quite possible that this IS the architecture, because there were clearly drawings ‘of buildings’ there, perhaps this is a building, or at least a part of a building, a window, a portable fresco that takes from where it is hung
8. WTF is architecture?
9. Revit
9.1. Ashley likes to joke about PK in a Photoshop class trying to figure out how old marks or moves leave their traces
10. Exactness and precision
10.1.Precisely what or exactly what
11. This is less a paper than it is a story, it doesn’t purport to be academic, there will be no footnotes or references, the musings are initiated contextually in the story, by settings or conversations
12. Audience
12.1.First person, teller, fabricator, transcriber
12.2.Sebald
12.3.Who are the drawings for?
12.4.Are they done by a man or by the situation
13. ‘Plot’
13.1.Banal meeting, the opposite of architecture, the cloistering of relationships
13.2.Back to the hotel to change clothes, as if there are two separate worlds
13.2.1. Life making buildings
13.2.2. Life in buildings
13.3.Long walk up Lavaca then cut over to Guad
13.4.Walk through CoA to find Leach, avoid looking at PK even though I can’t see it
13.5.Meet Leach, talk about his project
13.6.See work
13.7.Vietnamese noodle dinner, talk about commitment to work, “the work,” life as a project, everything I do is informed by my world view and my drive to make the moments fruitful, had it in me already but was cultivated by PK
13.8.Coffee from Medici’s (see tableau) but took it away, back to CoA courtyard
13.8.1. Light from windows
13.8.2. Revit
13.8.2.1. Work Slow
13.8.2.2. “The mark”
13.8.3. Owls
13.9.Walk back downtown
13.10. Drive to Ft Worth
13.11. 2 Visits to Kimbell
3 Kommentare
likes to joke about PK in a Photoshop class trying to figure out why ‘Undo’ does not leave a trace.
are you correcting what ashley said?
i was just clarifying that that something like ‘undo’ (in this case) or ‘delete layer’ creates a condition in which a move never happened, which is what blew pk’s mind. ‘eraser’ can be configured to leave traces; as a dilettante image-maker, i’ve pushed this technique. it’s too bad that the history can’t be made to build snapshots along the way of alternate time lines branching off from every move made. maybe pk could study up on the history brush, something i’ve never figured out how to use…