Closet

hargravemcpheearch353

We start the term by looking at architecture as a medium for interpretation.
Initially, all architecture is arbitrary. This is both liberating and difficult. Liberating for the creator seeking their own vision; difficult for one seeking reasons for every move as a means to remove the arbitrary. This project attempts to remove the arbitrary through the objectivity of reason and the subjectivity of the senses… both essential to the process of interpretation.

Architecture, functioning as a medium for the interpretation of data/forces/languages, neither insists that interpretations be faithful nor literal. The creators of architecture interpret via their own subjective/objective means. No form-ing is inevitable under these circumstances. As mediators, humans interpret the language of the external, to architecture, systems. Although architecture, the media, merely awaits its form-ing by those means, it becomes the posited interpretation. Within this paradigm we initiate the term with the following project.

The image of your closet will serve as one of two sources/ systems/ data/ languages from which you, the architect, will attempt to interpret via the language of architecture. The second source is what it takes to resist the loss of memory/ amnesia/ time. In open ended projects such as this, you may want to list the implications/ issues/ possibilities as you proceed.

We will help start the list:

the repressions of closet monsters
of dreams and desires
of shadow inventories and subliminal ends
of time [worn/ style/ fashion/ ]
of disorder/ order
the dialectic between inside and outside
between up and down
between concealed and revealed
between
the task of storing
of organizing
of retrieving
of deferring

notes from Gaston Bachelard 'drawers, chests and wardrobes':

'To pave the way for a phenomenology of what is hidden, one preliminary remark will suffice: an empty drawer is unimaginable. It can only be thought of.
And for us, who must describe what we imagine before what we know, what we dream before what we verify, all wardrobes are full'.

The casket contains the things that are unforgettable, unforgettable to us, but also unforgettable for those to whom we are going to give our treasures. Here the past, the present and a future are condensed.
Thus the casket is memory of what is immemorial.'