Our proposal speaks to our interest in recalling, multiplying, coloring and skewing the ghosts of the arithmetical, compositional and tectonic processes that had shaped the house. We will be developing the work on-site, in close collaboration with each other.
Slightly altered, online-sourced historical image of original construction (BAD)
The set of images depict the beginning of our dialogue: initial sketches that scratch at the subtexts of the Schindler House. A diminutive, framed belvedere will be situated in each courtyard. As places to sit, think, gaze, or perform, these structures will be scalar relatives of a suite of other artifacts and delicate mobiles episodically placed inside and outside the house. The structures will intensify by doubling or obstructing the house’s qualities, thresholds, and visual interrelationships—its intraviews.
Preliminary sketches (GMH)
To heighten the visual sense of the place, so that people see it differently than they had previously.
- Drawing attention to morphing shapes and perspectival dynamics when weaving in and out of the house and grounds.
- Moments of surface colliding with moments of depth (a solid surface mimics depth, or depth mimics a solid surface).
- Sight lines and connecting points, making people feel like their squinted eyes are laser beams.
All of the above with as light of a touch as possible, like when Robert Irwin draws a calculated black line down the center of a room and the air seems to crack in half.
Slightly altered, online-sourced historical image (BAD)