emotion
Deep shadows and darkness are essential
Between desire and its consummation
Rage rooms
The Topography of Tears
Empty rooms
A Quote by Bruce NaumanI don't think empty rooms are ever really empty. I think we subconsciously put our emotions into them.
The Cycle of Emotions
An Article by Jessica FanWhen we do not cultivate our Pillars, they grow weak and our Platform of Radiance becomes unstable, causing us to fall into one of the four Pits of Suffering below.
Each Pillar has a corresponding Pit of Suffering:
- Love > Attachment
- Compassion > Sentimentality
- Joy > Elation
- Equanimity > Apathy
But what do you want to say?
An Article by Ralph AmmerPablo Picasso famously said:
“The world doesn’t make sense, so why should I paint pictures that do?”
A sensible approach to something that can’t be explained is to express it.
Rather than giving you explanations or “saying something”, most artists are concerned with what I like to call “room for interpretation”. They create platforms that trigger thoughts, feelings, emotions, and ideas.
Instead of trying to explain the inexplicable artists express their view of it. They don’t want to tell you what to think, they invite you to respond.
The Circus
Endurance
For Alfred North Whitehead, a car accident and the exposure of a pyramid to the sun on any given day are equivalent events:
We are accustomed to associate an event with a certain melodramatic quality. If a man is run over that is an event comprised within certain spatio-temporal limits. We are not accustomed to consider the endurance of the Great Pyramid throughout any definite day as an event. But the natural fact which is the Great Pyramid throughout a day, meaning thereby all nature within it, is an event of the same character as the man's accident, meaning thereby all nature with spatio-temporal limitations so as to include the man and the motor during the period when they were in contact.
There it is again
Apparently architecture does the same job as set design, "it creates units of environment, atmosphere, or events"—whatever you wish to call them—but with more weight, carrying more material, slower. This is why it can raise the curtain more times and repeat "there it is again" for longer. Perhaps for this and other reasons there are periods in the history of architecture in which stage design or the folly, for example, have been an effective field of experimentation for serious architects.
Preparing a stage
When a client arrives at my studio, my job consists of preparing a "stage" for the length of time he desires, whether it be for a day or years, it is irrelevant in the end. A stage in which he can move under the sun "as if he were at home," though he walks stuttering at first before learning what will come in the script, be it kind or not, and which he will repeat a thousand times until he tires. When he tires, a panel is disassembled to readapt the children's room, the roof is demolished to make a study, the façades are decorated and life continues unperturbed.