V. Proposals

Dewey Ambrosino and Axel Schmitzberger *

Intensive Utopia: 835 (Re)Organism

835, a traditional hearth-centered floor plan that utilizes Euclidian devices.
835, an intensive utopia and creative hub.

Can Schindler’s mechanics1 used in the Kings Road House be employed to reflect and reveal the utopian vitality that gave birth to it more than 90 years ago?

An analysis of the Kings Road House floor plan shows the mechanics of three discrete Euclidian planes or schemes. If given their own vertical plane and extension, a unified field of projective geometry is generated, which is referred to as intensive space. Whereas Euclidian geometry generates extensive space, where one observes points, lines, and planes together with space and nothingness, as if the operand is a point-centered being. In intensive space the operand is a planar being observing spatial relations free of measurement, as dynamic and transformational, as qualitative and non-quantifiable. Its qualities are those of temperature, pressure, speed, chemical concentration, or color. Projective geometry is intrinsically non-metrical. Its facts are independent of any metric structure.

As planar beings observe 835, the (Re)Organism is born. Euclidian terms of interiority and exteriority are juxtaposed with the (Re)Organism’s intensive space terms of reterior and deterior. An intensive vector field is derived from 835’s Euclidian DNA and is used to suggest direction and speed as a form-generating strategy for the reterior, and a texture mapping strategy for the deterior.

The reterior begins in 835’s exterior backyard space and moves into the interior, starting at Schindler’s study and terminating in the Chace wing, marking its deterior. The reterior’s qualities are defined as dense, slow, formal, counterclockwise, centrifugal, cold, dark, wet, radiative, and suggestive of place. The deterior’s qualities are diffuse, rapid, formless, clockwise, centripetal, hot, light, dry, generative, and suggestive of space. The reterior content will be made from materials that more readily infer form, sculpture in the round, and installation. As the (Re)Organism moves into Pauline Schindler’s space and then into the Chace wing, the materials will become more diffuse and begin to reference dematerialization and abstraction.

The (Re)Organism will include audio and visual stimuli that will serve as its animating lifeblood. The visual component will be a combination of a texture-mapped digital video projection on 835’s interior, and a light projection using architectural amenities and parts of the installation as templates for shadow projection. The audio component will be performed live at events using sound that is computer-generated as well as live-feed from microphoned parts of 835 that will also be picking-up sounds of the guests. The composition process will be accomplished visually through the use of cymatic murals—mylar sheets animated by vibrations from rear-mounted speakers. Reflected and refracted light phenomena bouncing off the vibrating mylar will animate the (Re)Organism and will guide and inform the composition of sound. The performance will be recorded and used as the soundtrack, along with the live-feed microphoned 835, for the duration of the exhibition. A deteriorating digital algorithm will be applied so that the composition disappears and fades over time, leaving the microphoned Schindler organism to play itself. The visual stimuli will also morph, becoming less diffracted. The projections will become more prominent and stable toward the end, as the sound fades away.

Our intention is to reflect and reveal the utopian vitality of 835 in its full prismatic brilliance, offering the uninhibited and the uncensored spectrum of the performative and creative aspects of the Schindler organism. One of RMS’s main aspirations was to bring one closer to nature through architecture, which includes the inhabitants of the house as well as our human nature in all of its diverse manifestations. The inspiring provisional nature and uncompromising life at 835 should not be looked at separately, but as part of a complete utopian exploration that captured many of the ineffable qualities of the natural world which continually inspire and hold us in awe.

Field Treatment 01 – (Ex)stasis

The pre-intensive field is articulated by its extension in solid form, displaying the dichotomy, the grit and grain, of Schindler’s Euclidian and Cartesian mechanics. This extension will turn it into an alchemical system of light and projective representations outdoors and indoors. (Located in the garden between Rudolph and Pauline Schindler’s studios and the MAK Center garage office.)

Field Treatment 02 – Meiosis

Beginning in Pauline’s space, the solidified projective geometry begins to de-manifest itself, de-marking a shift in the perspective of the visitor and user; the house no longer exists as an architectonic artifact, but begins revealing its ambiguity towards behavioral use. Physical and projected elements begin to blend into each other, rigid at first, slowly dissolving.

Field Treatment 03 – 835 Speculum

Opposed to Schindler’s tight control, now in the Marian Chace wing, the house becomes witness to the landscape for which it has been created. The extracted projective geometry becomes a projection, and transforms to perform dynamically with the space.

Field Treatment 04 – Collidoscope

In Clyde Chace’s room, the projection takes over. The house is finally transformed to its full performative potential and suggests rather than digests. The visual and aural performance is in a full feedback with its past, its intentions, its projections, and its representation. (Includes projections, mylar, distinct video and aural pieces.)

1 A Euclidian-based, 4-foot grid that maps extensive space on three axes and establishes data in vertical.

*Note: This proposal is being considered for future development.

Dewey Ambrosino is a Los Angeles-based artist.

Axel Schmitzberger is a Los Angeles-based architect.

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