Texas A&M University. Department of Architecture Fall 2017.
Totemism. a Gallery for Louise Nevelson, Houston, TX.
Student: Daniel Enyon
The project, from the initial diagram, started its development as an understanding of Volume, Poche, and form, articulated as a canopy over a public space booleaned into the plinth. However, through the translation of the digital, my project shifted to the understanding of the figure. This figure as an object focuses on the idea not of the vertical totem, but the horizontal collection of objects with a small degree of stacking. This totemic articulation allows for the object to discuss a separation of surface, object and volume, leading to the presentation of the argument of the tea set.
The idea of the Tea set begins with the scenario where a collection of objects has multiple ontologies. But, simultaneously, the tea set argues a unified object through articulation of the surfaces. The tea set is, in its essence, the middle ground between the ideas of the still life collection and the unified surface object, and the complex nature of these ideas generates enormous ontological tension.
As my object argues figure, the separation that occurred in its surface from its volumes led to the blending of specific moments of the surface. Because of the specificity of these moments, my objects as the idea of the tea set, continuing to delve into these contingencies through volume, pattern, surface, color, and shadow,referencing the paintings of Wayne Thiebaud. -----Thiebaud's from my perspective, speculates on the realities of what is the natural and it asks the question of how surface and color relate to materiality, are these real cakes, real plates? His also work evokes a sensation: an affect embedded behind the initial understanding of the work. Through the questioning of the natural, using the work of Thiebaud the issue of aesthetics comes into play, his work also presents itself with that kind of a specific aesthetic, and proceeds to challenge the aesthetic regime of the modern, I decided for my project to use this idea to question the modern aesthetic regime through the same methods that Thiebaud does.
In terms of my project's aesthetic regime, it stems from a misreading of art history, from Thiebaud, into conditions that are not about the history of art, pop art, etc. But specifically misreading the labor of the painting, the color, the shadow, the pattern, and the texture from Theibaud. The contention of architecture according to these principles engages an aesthetic regime that could possibly be outside of our present concept of reality: the reality which is obsessed with the aesthetic regime of the modern.
The new aesthetic regime is a political act against modernism, and operates as such through the direct questioning of what a new aesthetic regime should be, and the criteria for what is considered beautiful, natural, and real. My project engages viewers to resist the status quo of the aesthetic regime, and through the embedded nature of aesthetics into an architectural objects, this allows my project to go through a process of disengagement an resistance avoiding modern strategies like contextual blending to undermine it.