The two sections, precedent to this assignment, as extremes of a single system. Given an initial flattened, indeterminate and unweighted image, I interpreted these transformations as a series of volumes that tapered and jogged through the object: when seen in orthographic representation, this deep façade is flattened into a series of frames.
This compression of space therefore flattens the difference between room and corridor. It further creates a series of pocketed spaces, hidden in orthographic view, that act as stairs or poche space, and sets up the binary between what is projected and what is experienced.
As a result, this project ultimately argues that ‘roomness’ and ‘non-roomness’ are a set of binaries that produces a gradient of ‘roomness’. The demarcation of this spectrum can therefore be blurred conceptually as enfilades become corridors, and dead ends become true rooms, with valences of implicit pocket rooms lying in between. The mullions of each frame are the crosshairs to the vanishing point of its own one-point-perspective; it is a demarcation of an impossible view, in the sense that it raises the difference between:
the impossibility of seeing the conceptual perspective, which is a representationally constructed and collaged orthographic view
The true perspectival view of passage and event on the side.
This comes together to suggest that because orthographic view is privileged, these real views suggest the impossibility of physically experiencing the façade as an orthographic image; that architecture, when privileging its orthogonal representations, can belie its true experience.
Project Photographs
