My thesis is working on the drawing plane to investigate its capacity to serve as a site of accumulation through vector density in order to connect a series of flat representations to the abstract condition of the enormous.
The enormous is defined as low resolution at a large scale, not containing a destination, being of pure arrival only, residing in a suspended state created by anticipation, a condition in which observers have the ability to understand/comprehend things outside themselves, but cannot quantify the limits/boundaries of it, compassion fatigue where the options become too similar, and/or density in its accumulation and translation, but not in its visual reality
This definition is building on the multiple sources from current disciplinary discourse:
Gregory Ulmer’s conception of the enormous, Paul Virilio’s writing on pure arrival and the third horizon, Neil Denari’s notion that architecture is infinite series of plenums and destinations that locates itself through vision, Eric Gordon’s Database City in which “multiple specificities emerge from an open map.”
Operating within a system with multiple horizons, orientation exists without fixity of place. The axis, meaning a static line that provides rotational identity, is replaced with the vector, an infinite, motivated, directional divider. The infinite scalability of the vector drawing is characteristic of the enormous, in its boundlessness.
In contrast to this, the raster image provides specific pixel information that is of a fixed resolution. The drawings presented here are meant to modulate between raster and vector, at points the vectors appearing with raster-like density at points of accumulation. The six panels are meant to provide six versions of the same project, using graphic queues, keys, and alignments between the takes, they form a whole that is not by any means comprehensive, but rather is working to construct a notion of the building project for the viewer. They are meant to be transactionary. The alignments are a form of geomancy, creating a topography of the drawings themselves by assigning greater value to some vector trajectories.
Program is a description of spatial function through dimensional delineation. It is not equivalent to function and therefore can be defined with a set of assembly instructions. The graphic standards of the spatial requirements constitute the program (the width requirements for rows of palette racks, the turning radius of equipment, the dimensions of cubicles, storage units, counter seats—the dimensional identity of a space).
The combination of programs does not go beyond a smashing together of the graphic requirements for each program. The connective tissue at the intersections is the part that is typically designed by architects. Spatial requirements are manipulated to fit into desired geometric forms or to forge a relationship between the building parts and the work as a whole. In my work, instead of molding program into geometry, the programs take on geometric character based on their relation to the highway. The angular relationships are based on their role in the physical and digital networks.
The accumulation of the elements allows for the viewer to comprehend a condition outside a specific moment or portion of a drawing, but rather to curate the elements into a perceived, authored whole.
The University of Michigan TCAUP
Advisors: Perry Kulper and Jason Young