Violence upon space, 2006
Violence upon space, 2006

1.    In attempt to qualify the everyday stuff around us, we have become dependent upon the photographic image to represent our technological and cultural achievements. This suggests that collectively we acquiesce to the role of the operator and subjugate landscape to that of object. We have become accustomed to violating landscape through the framing of the camera. Simultaneously, we exploit landscape through architecture and war, by means required for land-use, site work, and geographic domination. This development is malignant, rendered as a slow moving violation, anaesthetized to the point of banality. Landscape is living simulacrum, materialized by Architecture into latent form. The problem is, however, that we tend not to see it.  We need a new device for landscape projection.

 

2006 SCI-Arc Master of Architecture thesis 

 2.       My intent has been to exploit the violation of landscape  made avalialbe through the gaze of the camera’s eye and executed through architecture.   

2.    My intent has been to exploit the violation of landscape made avalialbe through the gaze of the camera’s eye and executed through architecture.

 

 3.      To understand the  violation of visuality , one must examine not only Barthes’ logic of the camera Operator, the Subject being photographed and the Spectacle of the photograph, but also how the  material and technological components  of the camera enable this violation.   

3.    To understand the violation of visuality, one must examine not only Barthes’ logic of the camera Operator, the Subject being photographed and the Spectacle of the photograph, but also how the material and technological components of the camera enable this violation.

 

 4.      The  materiality of glas s in the  camera lens  allows for  focusing of the subject ,  rendering it as object . It also acts as a  physical barrier in architecture  – say a  store front window  – to separate space but simultaneously allow for visual connections.   

4.    The materiality of glass in the camera lens allows for focusing of the subjectrendering it as object. It also acts as a physical barrier in architecture – say a store front window – to separate space but simultaneously allow for visual connections.

 

 5.      The  lens refracts the light energy projected from the subject as an apparition on the film within the camera body . The  image formed is a simulacrum;  a fake, a  representation of the subject being photographed . When light passes through the camera body and exposes the silver of film, a representation is made visible.

5.    The lens refracts the light energy projected from the subject as an apparition on the film within the camera body. The image formed is a simulacrum; a fake, a representation of the subject being photographed. When light passes through the camera body and exposes the silver of film, a representation is made visible.

 6.    Mirrored glass on skyscrapers acts very similarly within the context of landscape. In this situation, the mirrored skin of the skyscraper reflects the sky and other buildings. This suggests that the building itself produces copies of other buildings like a spectrum of landscape eidolon.

6.    Mirrored glass on skyscrapers acts very similarly within the context of landscape. In this situation, the mirrored skin of the skyscraper reflects the sky and other buildings. This suggests that the building itself produces copies of other buildings like a spectrum of landscape eidolon.

 7.   If, as I believe, architecture is the physically violent component of the camera’s violation of landscape, then is it possible to translate this formation of the simulacrum into intervention through the materiality of the camera apparatus? If so, what kind of experience is created through this exploitation? By exploring materials inherent to the photographic process, the intervention becomes clear through the use of film. By using architectural techniques of site work and analysis, and through exchanging “study models” for “models,” I began a series of staged simulacrums in landscape.

7.   If, as I believe, architecture is the physically violent component of the camera’s violation of landscape, then is it possible to translate this formation of the simulacrum into intervention through the materiality of the camera apparatus? If so, what kind of experience is created through this exploitation? By exploring materials inherent to the photographic process, the intervention becomes clear through the use of film. By using architectural techniques of site work and analysis, and through exchanging “study models” for “models,” I began a series of staged simulacrums in landscape.

 8.   These experiments, designed to give experience like catoptric devices, forms abstracted images of the environment, mixing the virtual and reality of everyday life.

8.   These experiments, designed to give experience like catoptric devices, forms abstracted images of the environment, mixing the virtual and reality of everyday life.

 9.   Film allows for the reflection and refraction of light energy like an architectural prism, rendering new landscape.

9.   Film allows for the reflection and refraction of light energy like an architectural prism, rendering new landscape.

 10.  By combining theories and practices together, I have created a series of CINEMATIC interventions in concrete islands. These IMAGES are used as tools for mapping the real and virtual landscapes pictured within the latent image. The mappings suggest an unknown landscape sitting within our collective reality; a multitude of other spaces exist without us seeing them directly. Through this process I am STAGING AN occupation in landscape.

10.  By combining theories and practices together, I have created a series of CINEMATIC interventions in concrete islands. These IMAGES are used as tools for mapping the real and virtual landscapes pictured within the latent image. The mappings suggest an unknown landscape sitting within our collective reality; a multitude of other spaces exist without us seeing them directly. Through this process I am STAGING AN occupation in landscape.

 11.  My use of the term virtual  landscape suggests a cognitively recognizable place that escapes our conventions of time, space and site. In this thesis, I am suggesting that the transformation of subject to object in the spectrum does not just simply end at the formation of the latent image. The transformation continues in the virtual space mapped through the materials shared by architecture and photography. The virtual space is the space of transgression; it is the undefined, vague and ambivalent landscape we cannot fully see nor thus control. Like the JG Ballard novel suggests, the hallucinogenic landscape subjects us to madness. A wonderland seen through the looking glass…

11.  My use of the term virtual  landscape suggests a cognitively recognizable place that escapes our conventions of time, space and site. In this thesis, I am suggesting that the transformation of subject to object in the spectrum does not just simply end at the formation of the latent image. The transformation continues in the virtual space mapped through the materials shared by architecture and photography. The virtual space is the space of transgression; it is the undefined, vague and ambivalent landscape we cannot fully see nor thus control. Like the JG Ballard novel suggests, the hallucinogenic landscape subjects us to madness. A wonderland seen through the looking glass…

Drift Diagram. Ink, vellum, string on newsprint.
Drift Diagram. Ink, vellum, string on newsprint.
Drift Diagram (detail)
Drift Diagram (detail)
Mirror Ground. Photographs, mirror foil paper.
Mirror Ground. Photographs, mirror foil paper.

Mirror image and plan -

This construction was generated out of experimenting with the use of mirrors, bodies, and sites to form abstracted images.

In this view, the outline of the figure is drawn in plan, as well as the shadow and reflection of the mirror, using masonry string.

This experiment allowed me to draw a connection between site-work in architecture and fields of vision in the camera.

Salt Camera
Salt Camera

Gabie Strong, Salt Camera, 2006. Salt block, water color paper, water, string, glass, bronze. Dimensions variable.

 

These drawings are made over time, using a quasi-geological method of dripping water onto salt and steel to generate abstracted images like a camera. Some have been made over the course of a few days while others were formed in a few hours.

These experiments allowed for the truly arbitrary form of image. The blobs and spitters formed on paper are nothing more than that. However, as soon as I call them “landscapes,” associations are made evident.

 

Interiors I
Interiors I

Gabie Strong, Interiors, 2006. Mirror foil paper, acrylic, paint. Dimensions variable.

Interiors II
Interiors II

Gabie Strong, Interiors, 2006. Mirror foil paper, acrylic, paint. Dimensions variable.

Interiors III
Interiors III

Gabie Strong, Interiors, 2006. Mirror foil paper, acrylic, paint. Dimensions variable.

ViolenceUponSpaceMArchBook_Page_01.jpg
ViolenceUponSpaceMArchBook_Page_02.jpg
ViolenceUponSpaceMArchBook_Page_03.jpg
ViolenceUponSpaceMArchBook_Page_04.jpg
ViolenceUponSpaceMArchBook_Page_05.jpg
ViolenceUponSpaceMArchBook_Page_06.jpg
ViolenceUponSpaceMArchBook_Page_07.jpg
ViolenceUponSpaceMArchBook_Page_08.jpg
ViolenceUponSpaceMArchBook_Page_09.jpg
ViolenceUponSpaceMArchBook_Page_10.jpg
ViolenceUponSpaceMArchBook_Page_11.jpg
ViolenceUponSpaceMArchBook_Page_12.jpg
ViolenceUponSpaceMArchBook_Page_13.jpg
ViolenceUponSpaceMArchBook_Page_14.jpg
ViolenceUponSpaceMArchBook_Page_15.jpg
ViolenceUponSpaceMArchBook_Page_16.jpg
ViolenceUponSpaceMArchBook_Page_17.jpg
ViolenceUponSpaceMArchBook_Page_18.jpg
ViolenceUponSpaceMArchBook_Page_19.jpg
ViolenceUponSpaceMArchBook_Page_20.jpg
ViolenceUponSpaceMArchBook_Page_21.jpg
ViolenceUponSpaceMArchBook_Page_22.jpg
ViolenceUponSpaceMArchBook_Page_23.jpg
ViolenceUponSpaceMArchBook_Page_24.jpg
ViolenceUponSpaceMArchBook_Page_25.jpg
ViolenceUponSpaceMArchBook_Page_26.jpg
ViolenceUponSpaceMArchBook_Page_27.jpg
ViolenceUponSpaceMArchBook_Page_28.jpg
ViolenceUponSpaceMArchBook_Page_29.jpg
ViolenceUponSpaceMArchBook_Page_30.jpg
ViolenceUponSpaceMArchBook_Page_31.jpg
ViolenceUponSpaceMArchBook_Page_32.jpg
ViolenceUponSpaceMArchBook_Page_33.jpg
ViolenceUponSpaceMArchBook_Page_34.jpg
ViolenceUponSpaceMArchBook_Page_35.jpg
ViolenceUponSpaceMArchBook_Page_36.jpg
ViolenceUponSpaceMArchBook_Page_37.jpg
ViolenceUponSpaceMArchBook_Page_38.jpg
ViolenceUponSpaceMArchBook_Page_39.jpg
ViolenceUponSpaceMArchBook_Page_40.jpg
ViolenceUponSpaceMArchBook_Page_41.jpg
ViolenceUponSpaceMArchBook_Page_42.jpg
ViolenceUponSpaceMArchBook_Page_43.jpg