What if you could stimulate the ‘act of discovery’?
What if research infrastructure could significantly be more active in its pursuit of knowledge through the registration of both tacit and explicit understandings both simultaneously and durationaly to both observer and environment?
What if you could construct a scientific mesocosm to support split spatial/temporal realities within different environments, controlling variables of both the tangible and intangible?
What if the infrastructure of research could encompass its focus at multiple scales and intensities to form new realities of how their research is experienced?
What if space is mercurial?
What if more than one space can exist in one place at one time?
What if form embodies simultaneity?
What if location is in flux?
What if the city was equipped with zones or stations to reset certain things or restock in a sense?
What if we could reorganise or pool existing resources within the city to serve our means in a similar way as in a wilderness expedition (resting places, setting up shelter, gathering food, gleaning energy)?
What if there were methods or tools that could recombine existing sensory outputs to create nodes of vacuum within the city as a sort of baseline or sea-level type of point of reference for the city, are there techniques that could be used to generate these in certain areas if the conditions align?
What if we could structure intervals within the city to allow a sharpening or focusing of certain parts?
What if we framed parts of the city to make wholes out of parts, and parts out of wholes?
What if we made a gallery for the birds?
What if traces/spills/mistakes/cracks became monuments?
What if we reorganize perception/space according to shape or colour?
What if the development of this project could be a process of oscillation? Rather than adhering to the idea of progress, it becomes a sort of knotting and unknotting analogous to an alchemic reaction.
Relating to this, what if the progress could become a conversation between the role of a painter and the role of a maker, oscillating between the intuitive opportunities of fabricating to relieve the psychological burdens of drawing?
What if in this age of distraction we could return to a more visceral form of engaging with our environment? I am interested in isolating the pace of walking into creative consequence. What kind of tools/set of tools can allow for this?
What if I could reinvent the idea of mythology as to conceive a rich spatial environment, making connections between and invented personal myth and space through language?
What if light was the propagator of form through a generative process of material addition and extraction?
What if time and duration were physically embodied in a static material construct?
What if spatial perception was intentionally interfered with by inserting material interventions into existing environmental conditions?
What if one could truly construct an “accurate” map? With reference to the ad hoc and even silly nature of early cartographic methods and instruments, what sorts of instruments could be made to inflict and record the less tangible, but equally durable, forces at play in defining a city? What if story telling, past, present and future, was the primal material for discussing and setting fourth urban development? Is fiction, or could fiction be as durable as non-fiction? What if frog catching, hiding alcohol from parents and first kisses were increments of measure for regaining and staking claim to the playful inquisitiveness of a child and in doing so setting forth a spatial discussion rooted in time and loose memory? What if Don Quixote constructed a guesthouse for Sancho Panza?
What if we could see into the future before designing a space to see how people would use it?
What if spaces were designed in reverse?
What if the prescription of a space could be avoided? What if we could design spaces before prescribing a programme to them?
What if one of us was always in the way?
What if something in the workshop/city was mis/replaced?
What if we want to 'check in' on our work remotely?
What if one of us forgets a quarter for the lockers?
What if FLAW was potential for play, exploration & chance operation?
What if the audience were to become implicated within a work? What does it mean to implicate the audience? Is this manipulation for the benefit of the work?
What if art works dealt less with construction and more with the pre-existing?
What if the "MAGIC" was revealed? How would this change the reading / perception of the work?