STILICHO II: PARIS DUPLEX : Preston Scott Cohen
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| The Distance Point method functions by allowing its objects and perspectives
to be reversed in their roles relative to one another. Hence, any possibility
of linear temporal progression is confounded in advance. As realized three
dimensionally in this project, planes and lines of coincidence provide
other non-directional links between permutations. All of the surfaces of
the building, their true shapes, intersections, joining details, lines
of convergence, coplanar and other affiliations, collapse the categories
of four spatial types as rendered by four distinct permutations: 1. “ground”–
original object; 2. “void” – perspective of only two dimensions; 3. planes
“en plein air” – perspective of three dimensions; 4. “solid”– perspective
of void. Differing scenarios compete to define the procedures by which
any particular iteration was determined. Inside and outside, back and front,
beginning and end, plane, volume, mass and void appear simultaneously.
Each arbitrary introduced iteration is converted into a necessity by
the projective matrices; once instantiated, each constituent is systematically
linked by its configurative, dimensional, and proportional data to aggregations
previous as well as forthcoming. As if modeled on Leibniz's monadology,
the axis of each verifiable distortion redefines the whole with respect
to its parts. Furthermore, the axes are diffused or partially hidden by
the uninterrupted surfaces and consequential intersections of their three-dimensionality.
Inextricably linked and always potentially determinative, the axes register
different portions of objects and perspectives with reference to different
orientations, degrees of concealment and interference between them. The
axes become the intervals of a variegated series. |
