The archive develops a historical significance through a curated and hyper specific clustering that orients objects, specifically focusing on those of future importance, through a personal objectification of prototype theory that initiates a conversation between its curator, the archivist or “finder” with an object. This identification predetermines rights, significance, meaning and worth, object becomes “object +”(or in some cases object- ?).
The architectural manifestation of archive should begin to suggest and frame the dialogue between projected identification and object understanding. First doing so by the means of the object, the object as a registration of its formal identity, masked, left protected and sheltered from second projections of unspecific understandings. The object within its category takes upon a mausoleum form, masked and protected, juxta positioning itself from other predisposed objects, and in doing so, creating unmaterial space. Space that again acts as a registration, this time nonphysical, but how a user might interact with the unidentified.
The second understanding starts with the identity of human and building, building as object, human, as imposer. The architecture, as it becomes after we understand its significance, should take on properties purely material in substance, its ability to formally and physically, manipulate itself and re orient apperception of the identifier, creates an object pure, pure of a holding any significant impression of an arbitrary manifestation of projection, leaving it to accomplish is goal, to formulate hyper specific relationships to archive, archival, and” false” preservation.
Who influences you graphically?
Gilles Retsin, Casey Rehm, David Lynch, my personal critic Patrick Danahy and everyone else out there that is the constant feed of the wild place that is the internet and Instagram.
What dictated the almost abstract means through which you explore your concept?
Within our critic’s section at Penn we’re heavily involved within trying to develop and construct an understanding of an idea, and how it manifests into architecture, and never as an abstraction or representation. Which both at a formal and architectural level becomes extremely difficult, it becomes about understanding a process that’s hyper specific, for me that was delving into philosophy and the material realm.
What defined the materiality of the ‘object’?
Within trying to derive specificity I used multiple techniques of casting concrete, resin molding and wax to gain control of how material and formal expression begin to create registration. When we moved to the moment of understanding our idea as architecture a lot of those earlier experiments translated into the final model.
What parameters delineated the photographs through which you choose to capture the ‘model’?
Pure compositionally, trying to understand the interaction between human and object.
What is your take on the axonometric? What role did it play in exploring the proposal?
Up until this point we’ve been purely understanding architecture though a physical realm besides early diagrammatic studies that made it quicker at an iterative stage. But at we step into a computational realm axon will be playing a role in understanding how formal environments begin to create registration and new ways of construction section and plan. Overall Axons are the key drawings, more specifically exploded, its ability to convey almost every aspect of a project becomes extremely powerful.
If you could explore the not on of archive and museum further -where would this take you?
Currently as the project is pushed further a large effort of my research and emphasis is on the understanding of space through material and how it can construct abstract tertiary spaces. Spaces that begin to let the user speculate.