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Matters of Sensation

Marcelo Spina and GeorGina HuljicH

ARTISTS SPACE

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Marcelo Spina and Georgina Huljich Matters of Sensation: Materiality in the Sublime

Introduction

MofS focus closely on an evolving materialism in architecture by a group of emerging contemporary architects; a “Sensuous Materialism”, an affluent materialism of sensations rather than an abstract materialism of pure matter. While materialism implies a philosophical outlook; a conception of the world derived from physical phenomena and those relation- ships which are directly dependant on it; materialism in its ontology can not be detached from the body. In fact, as Peter Zellner argues, material bodies can only be appreciated through sensations. The pursuit of sensations in these contemporary practices constitutes a novel form of artistic research that implies “an evolv- ing materialist/sensualist architecture that gestures towards a far more negotiable set of relationships between form, perception and action”1 while still away from the realm of subjectivity or phenomenology.

To be clear, materialism does not imply here the idea that material organization at a certain scale will simply trigger formal organization and structural evolution of an entire project at another; nor it suggests form find- ing or form optimization processes as a priori design criteria. Materialism in these architects has a further meaning beyond a philosophical one, it indicates a con- cern with materials as such. In fact the working pro- cess of this group is rather open. It combines research and intuition with an obsessive creative surge. This interest explains not only an experimental approach to architecture but the will in exploring many different aspects of architectural form. For these architects, it is not enough to formulate an idea once; they are inter- ested in playing through various instantiations of an idea to demonstrate and rehearse its potential. None- theless, these architects are not interested in merely

proposing, positioning or illustrating questions, but they rather choose to produce provisional responses to them emphasizing in their outcomes the material, physical and sensorial aspects of form and matter. Hence the multiplicity of the senses needed to scruti- nize their work instead of the primacy of the visual.

Grounding Sensation

Sensation is synthetic by definition. Its space is optic as it is tactile. Bodies are not merely perceived but they take on a sculptural or tactile quality such as mass, depth, contour and relief. Deleuze following Riegl, terms it “haptic space, a space in which there is no longer a hand-eye subordination in either direction. It implies a type of seeing distinct from the optical, a close-up viewing in which “the sense of sight behaves just like the sense of touch” 2.

In thinking about the exhibition, we wanted to con- struct an atmospheric ecosystem, a whole ecology of sensation building objects that could be seen at “close range” 3, in close proximity to each other. We knew the architects in the show have worked towards producing sensations in their work, either consciously or un- consciously they all have made projects, installations, prototypes or large models which dealt in one way or another with matters of sensation and in doing so took pleasure in the sensations of matter.

As an idea, the exhibition focuses on architects that have moved beyond a pure digital practice into a ma- terialist domain based on robust forms of sensation. Contrary to the naïve belief that supports the idea of digital design and fabrication as having eroded issues of materiality and craftsmanship in architecture, we are now witnessing a welcomed return to material.

This should not imply a loss of a conceptual or abstract dimension to the work, but it certainly suggests a needed amplification to an architectural palette. MofS suggests an obvious departure from abstract process driven approaches to computation and constitutes a fresh reinvigoration of the discipline as an inherently material practice.

As a show, MofS focuses on objects that are not so germane to traditional architectural production and which have only became promi- nent in recent years as a form of research oriented practice. These artifacts [bodyworks] are outside the realm of conventional architectural representation such as drawings, renderings or models; and they don't quiet constitute edifices since they are neither building components, nor prototypes or full installations. Dimensionally proportioned and formally evolved, they engage and connect with the body one to one, not only visually but haptically. These objects are the outcome of a decidedly not linear and complex design and production where specific materials and techniques entangled in unseen ways. Like sculpture, they produce spatial, formal and material affects at their own scale while ambiguously maintaining a latent potential for scalar shifts into building form. Though truly experimental in their essence and with no direct practical purpose, these pieces are pure potential; materially formed sensation building artifacts and true vehicles for architectural innovation.

Figuring the Real

“It is a very, very close and difficult thing to know why some work comes across directly into the nervous system and other work tells you the story in a long diatribe through the brain.”4 To come across directly into the nervous system, implies a particular kind of engagement with the body. In Francis Bacon’s paint-

ings the body is always the human figure. In the case of Bacon paintings, the results were never completely new figures, but rather moment of figuration within material bodies. In the context of architecture, a full sensation can only be generated within the specificity of the real and, outside the abstract or generic. In fact, engaging the real implies a dual reasoning: first, the careful orchestration and calibration of sensations which are purposely scaled and directed to the body; second, the need to tap into specific elements and

internal systems within the archi- tecture discipline from which to produce those sensations. Hence it is the architectural body with all its physical and spatial sub- stance and constitutive systems [and the body itself ] that plays the role of the figure: it functions as a framework, a material sup- port by which to substantiate and sustains sensations. In the context of MofS, the real has multiple

connotations. It implies a particular engagement with notions of structure, tectonics, assembly and building systems for some; as well as with massing, fenestra- tion, opening and ornament for others; or with issues pertaining to coloration, tonality, light and contrast for

others; or even with motion and interactivity for some others. In every case, these particular [ar- chitectural] domains function as a material support, a physical and conceptual framework that sustains precise sensations.

Unibodies: The indivisibility

between material bodies

and the body

“Sensation is the opposite of the facile and the ready-made, the cliché, but also of the

“sensational”, the spontaneous, etc. Sensation has one face turned towards the subject [the nervous system, vital movement, “instinct,” temperament…] and one face turned toward the object. Or rather, it has no faces at all, it is both things indissolubly… It is the same body that, being both subject and object, gives and receives the sensation” 5

Spina / HuljichSpina / Huljich

Above:

UniBodies, PATTERNS with Kreysler and Associates Artists Space, Architecture and Design Series, 2006

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“In fact, many of the work on Matters of Sensation is characterized by a form of plasticity. The idea that plastics could

generate infinite formal variations is echoed in Roland Barthes essay “Plastic”.

Aside from the possibility of bodies sensing objects and the consequences for all kinds of sensorial specu- lations, one of the most significant and somewhat uncharted problems of sensation is the possibility that the very material-bodies acquire the capacity of being sensitive. That is to say that internal systems, subsys- tems, various tectonic elements or components are in a constant state of vibration, a rhythmic activity of sens- ing. In UniBodies 6 for instance, the armature of a ribbed shell is embedded within the skin, giving way to a sort dual reverberation process: of vein like system of different thick- nesses and depths appears in the underside of the skin while its top creases producing near cellular compartments by means of egg- like partition of surface morphol- ogy. This partial absorption of one system by another where there is no longer as a result neither a duality within the body nor a total fusion of a priori discrete systems, but rather a synthetic, composite quality to the overall body amounts to a different but quiet unique form of material sensation. Many of these qualities are also visible in the work of the show.

Dynamic Sublime: Three Instances

Kant distinctively identified two types of sublime: the mathemati- cal sublime and the dynamic sublime. The realm of sensations in design and artistic practices is definitely concerned the latter and not the former. Whether is about induced body movement, abrupt changes of scale and sequencing; or is about the rich anisotropic materiality, lively color, spiky contrast and subtle tonal variation; or about shimmering, internal light; or about articulat- ed and intricate assemblies of parts, gradient relief and texture; or about viscously molded manifolds, embed- ded within thick surfaces; all these attributes and the inner activity they entail are indicative of a sensitive behavior. Eventually, only an attuned and synthetic coordination of such aspects amounts to a robust sen- sation, a synthetic and dynamic sublime.

DS1 / A Sensitive Constructivism in

David Fincher Films

Contrary to a misconception and its confusion with sensational, Sensation building is a potent constructive mechanism. Filmmaker David Fincher made a signifi- cant contribution by introducing computer graphics in movies in a radical new way. Indeed, Fincher uses CG to inventively animate unattainable sequences that capture micro spaces otherwise impossible to detect, but that are however absolutely essential to the

construction of a sequence’s mood and spatial sensibility. The elabo- rate and difficult trajectories that the camera undergoes allow for an intimate relation with the spatial structure [the intricate and trash populated world of a garbage can in the “starbucks galaxy”], complex mechanisms [the complex cable circuitry of a bomb inside a van lo- cated in the basement of the world financial center], materiality and

color [the polished but somewhat greasy stainless steel burner in the kitchen of the “ikea” apartment], and therefore affect of certain spaces and objects around us. In continuity with a filmic script and a narrative, these intensive segments amount to an affective constructiv- ism, a spatio-temporal constructivism of sensation that

instigates a heightened awareness of the extents of our material en- vironment.

Different from the use of CG to create a total ‘other” reality such as in science fiction films, in Finch- er, spatial effects are absolutely embedded within the “real”. They are there but the idea is that you don’t see them. In fact, the ulti-

mate spatial effect is the one you don’t see. You don’t know what they are, when and how they happen. You just know they are there somewhere.

The spatial implications of such techniques are mani- fold. They not only suggest sudden and abrupt changes of scale but also of time, speed and trajectory; from a general and global view to the almost tactile intimacy of a close range. By engaging the real, accentuating and

Spina / Huljich Spina / Huljich

exacerbating its features, the real becomes dynamically sublime. It is then not simply a coincidence that David Fincher would look at Francis Bacon’s painting to create a sensually blurry and erotically strange scene between Ed Norton and Elena Bonham Carter in Fight Club.

DS2 / Anisotropic Materiality in

Richard Deacon Sculpture

Richard Deacon’s recent food inspired sculpture com- bines a formal interest for complex manifold forms, [much more tectonically inarticulate and materially inexact than his previous work] with a painterly interest in pro- ducing anisotropic finishes. Materially, these finishing mixtures are achieved by color dripping glaze pigments until there are several layers to form a semi- transparent surface. Embedded in the finish, is the idea of a thick surface pro- duced by the use of glaze. These sculptures seem haunted with a terrible unease. “What is really peculiar here is the surface of these ceramic forms. At a distance, the glaze sparkles and glints. Up close it drools and drips, its shiny wetness making the shapes look as though they suffer some terrible skin disease, and are also sweating: a clammy, drunk sweat, a fear sweat, giving the sculptures a disturbingly or- ganic, unhealthy quality. The stuff drips and dribbles the way silicon saliva drools from the jaws of Ridley Scott's Alien.” 7

Applied to the surface, the glaze is like the make-up of a viscous skin, a strange color, at once luscious, repulsive and somehow vulgar. Within it persist the anisotropic properties of the material, full of a rich and exotic variability. The dynamic sublime and strange sensation of its materiality is the outcome of the intentional fortuitous coagulations and slippery quality of the glaze and the vitality of the paint drifting and dripping down the complex aggre- gate forms. DS3 / Light, Shine and Sensuality in George

Hurrell Portrait Photography

The theatrical use of lighting has become somewhat

paramount to atmosphere. George Hurrell revolution- ized Hollywood still photography by introducing bold new idiom of conceiving portraits. An acknowledged artist Hurrell was not a conventional fashion photog- rapher but a film photographer. Even more than the movies themselves, his lush and superbly illuminated portraits depicted a polished grace and refinement that transcends age and time while propagating an alluring image and a certain magnetic charisma in his subjects.

Partly synthetic, these photographs were not entirely artificial. Hurrel photos intensified the defining qualities of their subjects, while creating a veil of mystery with light and shadow. Hurrel used to light his subjects with a really big spot light from a fair distance away producing a concentrated beam effect in their faces, exalting their silluetes and most promi- nent features while accentuating their sharp contrast with the background.

“Like Rembrandt using glazes to make the material come alive in the paintings”, George Hur- rell often used to put lanolin to lighten the bodies of his subjects; “to create a part shine, part sexy and part sweat effect in their appearance” 8 This “wet” feeling of transpiration intensified by the punctual light glare

suggests a sensation of fear, anxiety and agitation in Joan Crawford 9 body [see picture below]; while a more relaxed, se- rene but intensely sensual look in Johnny Weissmuller photograph for Tarzan.

A Friendship of Sensation

In thinking about the show and the body of work that would fulfill its ambitions as curators, we have to admit that we always thought about specific architects, all of them working in the context of the US, and all of them from a somewhat

similar generation. Absolutely intentional on our part, we aimed at evidencing a family, a sensibility, call it a friendship of sensation, reflecting on its work and pro- jecting its potential contribution.

As designers, our interest in the show was of course not only conceptual but of a visual nature as well. In

Above:

Joan Crawford, Photography by George Hurrell

Johnny Weissmuller as Tarzan, 1932

Gelatin silver photograph printed image 29.8 x 23.3 cm.

Above:

Richard Deacon, Scrambled Eggs

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MATTERS of SEnSATIon 14

a somewhat playful way, we sought to put together stuff we like, in close proximity to each other. In doing so, we had to resist our own temptation [often times induced by some of our colleagues] to include our own work in the show. Thus it is both with pleasure and a bit of anxiety that we observe this exhibition come to- gether, and we don’t see our work in it. Or maybe we do.

Although they attract our curiosity and consideration, we are always a bit skeptical of any form of restrictive discursive definition in design and architecture given the characteristically short life span of it in light of criticism, history and the inevitability of time and in- dividual need for change. MofS does not attempt to de- fine “a” style neither it suggests a rigid position around more or less sensually striking objects. We have had too much of that and its time to relax. MofS ultimate goal is to collectively share our passion, maybe even exaltation for these objects, their propensity for and overabundance of articulation…and a true enthusiasm for the body. •

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1. Material Sentience, Peter Zellner 2. Maldiney, Regard Parole Espace, 195 3. Cezanne said that the painter must look beyond a landscape to its

chaos; he spoke of the need to always paint at close range, to no longer see the wheat field, to be too close to it, to loose oneself in the land- scape, without landmarks, to the point where one no longer sees forms or even matters, but only forces, densities, intensities. Daniel W. Smith, Deleuze on Bacon: Three Conceptual Trajectories. The Logic of Sensation

4. David Sylvester, Interviews” with Francis Bacon. Quoted in Gilles deleuze: The Logic of Sensation

5. Gilles deleuze: The Logic of Sensation, “Painting and Sensation”, Chapter six, page 31

6. UniBodies, a collaboration with Kreysler and associates for Artists Space Architecture and Design Series in September 2006. Consisting of a family of objects, UniBodies was as much about the cohesive material sensation and intimacy within the physical bodies, as it is about the potential induced resonances between those bodies and the body.

7. Adrian Searle, What's red, white and wet all over? The Guardian, Tuesday January 10, 2006, ‘Range’ was exhibited at the Lisson Gallery, London.

8. Jeffrey Kipnis generously introduced me to the work of George Hurrell during the interview for the book Sessions. He brought up the work of George Hurrell as a significant contribution to the problem of special effects in photography. Sessions, SCI-Arc Press. “Kipnis discusses the work”.

9. Joan Crawford, who was just 26 when Hurrell first photographed her, became his most frequent subject. Hurrell’s most striking portraits of her downplay her outfits, focusing on her intense eyes and determined mouth. He preferred to have his subjects relax and move spontaneous- ly, allowing him to add the photo’s artifice. From his heavily retouched photos, you would never know that Crawford’s face was covered with freckles.

BIO

paTTernS is a design research architec-

tural practice based in los angeles and

operating globally. Founded in 1999 and

headed by co-principals Marcelo Spina

and Georgina Huljich, paTTernS work

has gained international recognition for its

innovative approach to design and archi-

tecture that fuses advanced computation

with an extensive understanding of form,

tectonics and materials. paTTernS’s vision

is to generate innovative spatial forms that

actively engage, enhance and influences

the body, constantly challenging its rela-

tionship to the built environment akin to

the complexity of contemporary life.

paTTernS has received numerous prizes

and awards including first prizes in the

competitions for the Vertical Garden at the

Schindler House in West Hollywood and

the new Sci-arc café, the third prize in the

prestigious Young architect of the year

award in 2003 and most recently, an hon-

orable mention for a concert Hall in Skopje,

Macedonia. current projects include Sunset

8746 Boutique, and the Sci-arc café both

to be completed in 2008 in los angeles, a

Hybrid office Building in chengdu and an

entertainment pavilion in ningbo, both in

china, and a vertical apartment building in

rosario, argentina.

paTTernS work has been shown and

exhibited worldwide, most notably at the

art institute of chicago, San Francisco Mu-

seum of Modern art, the Venice Biennale

in italy, The architectural league of new

York, and its first solo show “uniBodies” at

artists Space also in new York. paTTernS’

work is part of the permanent architecture

collection of the San Francisco Museum

of Modern art, the MaK center in Vienna

and the Sculpture collection at Gyeonggi

cultural Foundation in Korea. in addition to

their individual work, Spina and Huljich are

the curators of “Matters of Sensation” at

artists Space. The show is one of the most

important collective exhibitions in architec-

ture that artists Space has organized and is

accompanied by a catalogue published by

charta Books.

Marcelo Spina and Georgina Huljich have

lectured extensively in the uS, South

america and europe and his work has been

published internationally in books, exhibi-

tion catalogues, magazines and newspa-

pers such as next Generation architecture,

new architecture, architectural record,

praxis, a+u, casabella, icon, index

architecture, l’arca, los angeles Times,

and the recently released Sci_arc Book

“Sessions”. in 2004, architectural record

selected the work of the firm among 11

emerging practices worldwide to integrate

their prestigious “design Vanguard”.

paTTernS first monograph Sensitive Form:

Inside and Outside Material is forthcoming

by princeton architectural press.

Marcelo Spina holds a professional degree

from the national university of rosario and

a Master in architecture from columbia

university in new York where he was the

recipient of several honors including the

William Kinne Fellowship and the Honor

award for excellence in design. Marcelo

Spina is a design Faculty at The South-

ern california institute of architecture

since 2001. He teaches design studios

and technical seminars in the Graduate

and undergraduate programs. He has

been a Visiting professor at the Graduate

School of design of Harvard university, a

distinguished Visiting professor at Tulane

university, the Friedman Visiting professor

at the university of california Berkeley and

a Visiting professor at the Technical univer-

sity of innsbruck, austria. He has previously

held positions at the national university

of rosario and The di Tella university in

Buenos aires in argentina.

Georgina Huljich holds a professional

degree from the national university of

rosario and a Master in architecture from

ucla where she graduated with distinc-

tion and was the recipient of several design

awards. She has previously worked at the

Guggenheim Museum and the architectural

firm dean/Wolf architects in new York,

as a project designer at Morphosis in los

angeles, and as the co principal of fl-oz

she was awarded one of the Six Winning

entries for the 21st. century park competi-

tion organized by the Graham Foundation

in chicago and designed the exhibition

‘pass Through’ at the School of cinema and

Television at uSc. She has also partici-

pated at Beyond Media ’05 Script Show in

Florence, italy with her video installation

Fairy_Tails in collaboration with video artist

Gaby Hamburg. She is currently a design

Faculty at the department of architecture

at ucla, having previously taught at uc

Berkeley as a Maybeck Fellow and the

university of Southern california.

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