architectural ephemerides
| exploring absolute black
[the royal danish academy of fine arts - school of architecture]
The purpose of this project is to create a manifest on the ephemeral nature of architecture. The manifest is to include an assessment of a chosen range of architectural aspects and the impact of these upon the perception of space, historically, theoretically, cosmologically, etc.
At the Amager Park five points (areas) were singled out by a set of rules made to secure a totally random selection. These points are by definition unique. Through a close analogy to Leibnitz’s “Monadology”, these points are defined by their uniqueness as well as by their interrelationship, upon which an isolated path of space concepts can be established. On this path the five points are each marked by a 10x10x10m. cube epitomizing the specific spacial feature of the area and linking it to a conceptualization of this feature. The story of time and space in each cube is told by the sunlight moving through the slits and openings in the roof and walls or the particular sights offered through the openings. The five black concrete cubes collectively make up an installation in the park, essentially turning it from a left-over and forgotten place to a place with a statement on time and space.
The mark (the universe in a grain of sand): This point contains the potential of all the aspects of the next four points, but in itself it offers nothing but the clearest view of the sky. The sun light that lights up the inside of the cube points out four corners, one at a time during the day. A square is drawn in light.
The beginning (the concept of ‘now’): This point is not visible until actually entered, though the entire eastern horizon is visible from it. The sunrise cuts through a slit in the eastern wall, projecting the sunlight upon the floor, the ceiling, and the opposite wall, effectively making a portal of light inside the cube.
The horizon (discerning space): Having no actual paths leading to or from it, this point turns the attention towards the horizon – an unfocused but widened perception. A narrow slit through the entire cube keeps the attention on the horizon as the edge of depth but re-establishes the focus on a particular point in the horizon.
The phenomena (space vs. objects): Several massive buildings and factories are visible from this point, giving a perception of depth and scale. Two slightly underscaled door openings set against the pitch black interior of the cube turn the outside space into objects with no relative surroundings.
The ideas (infinity and eternity): The high natural density on the edge of a lake make this final point the point of obscurity and incomprehensibility but also of consequent clarity of thought – the divine inspiration. The sunlight reflecting on the surface of the lake indirectly lights up the ceiling inside this cube, blurred and wavering.
At the Amager Park five points (areas) were singled out by a set of rules made to secure a totally random selection. These points are by definition unique. Through a close analogy to Leibnitz’s “Monadology”, these points are defined by their uniqueness as well as by their interrelationship, upon which an isolated path of space concepts can be established. On this path the five points are each marked by a 10x10x10m. cube epitomizing the specific spacial feature of the area and linking it to a conceptualization of this feature. The story of time and space in each cube is told by the sunlight moving through the slits and openings in the roof and walls or the particular sights offered through the openings. The five black concrete cubes collectively make up an installation in the park, essentially turning it from a left-over and forgotten place to a place with a statement on time and space.
The mark (the universe in a grain of sand): This point contains the potential of all the aspects of the next four points, but in itself it offers nothing but the clearest view of the sky. The sun light that lights up the inside of the cube points out four corners, one at a time during the day. A square is drawn in light.
The beginning (the concept of ‘now’): This point is not visible until actually entered, though the entire eastern horizon is visible from it. The sunrise cuts through a slit in the eastern wall, projecting the sunlight upon the floor, the ceiling, and the opposite wall, effectively making a portal of light inside the cube.
The horizon (discerning space): Having no actual paths leading to or from it, this point turns the attention towards the horizon – an unfocused but widened perception. A narrow slit through the entire cube keeps the attention on the horizon as the edge of depth but re-establishes the focus on a particular point in the horizon.
The phenomena (space vs. objects): Several massive buildings and factories are visible from this point, giving a perception of depth and scale. Two slightly underscaled door openings set against the pitch black interior of the cube turn the outside space into objects with no relative surroundings.
The ideas (infinity and eternity): The high natural density on the edge of a lake make this final point the point of obscurity and incomprehensibility but also of consequent clarity of thought – the divine inspiration. The sunlight reflecting on the surface of the lake indirectly lights up the ceiling inside this cube, blurred and wavering.