update #38

strategies for here and now: being in space

 

the best way to enjoy this update is to download the pdf

 
 
 

note to update #38

This Stordes update is being written by Lorenzo Gerbi and Hein Duijnstee. It testifies the intention to extend the authorship of the updates and through the dynamics of collaboration to enlarge its meaning.

 
 
 

Through the many screens that fill our lives, it is with our eyes and ears that we experience other places, people and ideas. We are often there and then, not present to ourselves and others, forgetting our bodies and their sensory capabilities beyond just hearing and sight.

To be somewhere is to move through that space, not just understanding but shifting from making sense of it to making senses in it. 

That is the purpose of the experience we created: an occasion to explore what it means to be in a space and how it is not just about the visual properties. We wanted to hear, smell, taste, sense how our presence affects a space and helps to record it in multiple ways: the sound of your voice echoing in it, the difference of temperature inside and outside, the movement of the air, the feeling of losing yourself in the space, the absence of function of that space, the daylight that shapes and transforms the architecture.

In this update, we use some of the buildings in the Museum Insel Hombroich (Neuss, Germany), created by sculptor Erwin Heerich as chapels in the landscape of the park, as middle objects to allow different strategies for being in the here and now. We share below some suggestions as triggers and invitations to explore other spaces, like we did, forgetting about your eyes to make your body present.

 
 

building 1

 

 
 

Can you imagine a space just through the sound of your voice echoing in it? 

You enter this space, and it asks you to scream in it, as if its volume suggests an affordance of how to “use” its emptiness. Our voice, like a dolphin’s sonar, creates a mental picture of the space through the reflection of sound.

 
 
 
 
 
 
 

building 2

 
 
 
 

Can we still get lost? 

In this building containing varied collections of artworks, there are no indications: no room number, no defined path, no artwork descriptions, no guards. The roof, walls and floor of the spaces trigger a sense of sameness that defies the senses. The artworks become the abstract reference of your position and being. The shape of the building and its position in its surroundings are lost. There is only your directionless movement.

 
 
 

building 3

 
 
 
 

Can your presence become part of the building itself? 

A building that brings the outside inside through light. By exploring it, you cast shadows and reflections that temporarily become part of the space itself. The traces of presence are emphasised through the material quality of the surfaces.

 
 
 
 
 
 

building 4

 
 
 

Can a meal taste like the building in which it is served? 

A frugal buffet is displayed on unvarnished wood tables; food has the same colour as the walls and the park outside them. It tastes like the sober attitude of visitors and staff. The meal is a carefully designed performance in which the space is the leading actor, supported by the workers with food props and visitors as extras.

 
 
 

building 5

 
 
 
 

How does temperature draw a building? 

Blue lines are the cold wall corners, the bright yellow grid is the hot metallic structure of the glass ceiling exposed to the sun, and orange legs and heads of visitors entering. By playing with a thermal camera, the space transforms into an expressionist painting, where temperature is the painter.