“The rhizome is altogether different, a map and not a tracing. Make a map, not a tracing. The orchid does not reproduce the tracing of the wasp; it forms a map with the wasp, in a rhizome. What distinguishes the map from the tracing is that it is entirely oriented toward an experimentation in contact with the real. The map does not reproduce an unconscious closed in upon itself; it constructs the unconscious. It fosters connections between fields, the removal of blockages on bodies without organs, the maximum opening of bodies without organs onto a plane of consistency. It is itself a part of the rhizome. The map is open and connectable in all of its dimensions; it is detachable, reversible, susceptible to constant modification. It can be torn, reversed, adapted to any kind of mounting, reworked by an individual, group, or social formation. It can be drawn on a wall, conceived of as a work of art, constructed as a political action or as a meditation. Perhaps one of the most important characteristics of the rhizome is that it always has multiple entryways; in this sense, the burrow is an animal rhizome, and sometimes maintains a clear distinction between the line of flight as passageway and storage or living strata (cf. the muskrat). A map has multiple entryways, as opposed to the tracing, which always comes back “to the same.” The map has to do with performance, whereas the tracing always involves an alleged “competence.”” – G.Deleuze/F.Guattari
Amidst this fragment from the Introduction Rhizome section of philosophers Gilles Deleuze + Felix Guattari’s book Milles Plateaux are a myriad of important critical questions. Here the map is not one of representation but of construction. The map constructed In this way is also a facilitator for construction, and one that is “entirely oriented toward an experimentation in contact with the real”.
To begin the final design of the bath house you are asked to “Make a map, not a tracing”. More specifically you are asked to construct a mapping of the site’s most essential characteristics that will underpin the direction of your project. This will require you to experience the site and to translate that experience into a construction.
- Space – This mapping must encompass some portion of the space beyond the boundaries of the park through to a proposed siting of your future bath house. Contained within this space is the physical approach to the site. In addition to the environmental and material conditions, the sites topography is of utmost importance to the spatial mapping.
- Time – This mapping must explicitly engage with the measure(s) of temporality which make space experiential.
- Body – This mapping must elucidate the relativity of the body to the space and time of the site. It is the body which concretizes the abstract condition into physical experience.
In a medium, and at a scale, appropriate to the mapping you construct, combine section, plan, and experiential data into a single assemblage. All constructions are expected to be presented at level of craft comparable to the precedent drawings. In some respects the methodologies of this mapping are analogous to the precedent study only with site as subject.
A few calendar updates of note:
The lecture tomorrow has been pushed back to a 4:30 start time in Seigal Hall to accommodate site visits for some studios prior.
AND, the field trip that had initially been planned for March 1 has been postponed until April 5th – more details on that to follow.
AND, the lecture next week has been cancelled.
The calendar online will be updated shortly.
A few notes about the Tepedarium competition tomorrow.
The competition will be held tomorrow afternoon, in the lower level of Crown Hall. Starting no later than 2:00pm, you will be asked to place your models and pin up your drawings in the locations indicated on the attached document – S13_ARCH 306_TEPEDARIUM COMPETITION PIN UP #’S AND LOCATIONS. This document assigns each of you a number (#) (no personal markings or names should occur on your boards as to keep the competition anonymous). The locations for each number are also noted in the document, and locations will be marked with numbers on post it notes designating the locations for hanging. Instructions and rules for pin-up are the same as those provided for the Precedent – Illuminated drawings pin-up. Please pin up over the top of all existing material in the halls so that upon removal, the building is left as it was.
At 2:30, please convene in lower core. The competition will be juried by several guest jurors beginning with introductions at that time. The jurors will be selecting a shortlist of projects for final review (red dot), and you will be asked to participate by awarding winners in three categories for Best Project (green dot), Best Model(blue dot) and Best Presentation (yellow dot).
At 4:0o pm, all projects should be taken down from their locations, and those projects with red dots should re-hang your projects and re-place your models in lower core. Please remember to also bring your # designation with you so we have record of which projects belong to who. All of us will reconvene in lower core at 4:15pm, along with the jurors, for final reviewing and awarding of final winners.
As we have discussed, you will be assigned a 2′ wide vertical column of space to pin-up your 11×17 drawings. Your drawings may be presented along with your final model and any relevant study models.
The pin up #’s and locations will also be displayed on the doorways to the east and west studios at 12:30pm tomorrow afternoon. If by mistake your name does not appear on this roster, please either contact me by email (firstname.lastname@example.org) or see me tomorrow for a spot.
After introductions at 2:30, please see your studio professor for the stickers you will use to select the ‘audience’ awards. You will receive three stickers – a green, a blue and a yellow, and you will be asked to vote for your favorite Project (green dot), Model (blue dot) and Presentation (yellow dot), by placing your stickers clearly on or adjacent to your selections.
After the winners have been announced, it is your responsibility to carefully remove your presentation and models from their displayed locations and return the lower level of Crown Hall back as we found it.
Good luck on the home stretch and can’t wait to see the work tomorrow!
For those that have not submitted their files, please do so today as we are in the process of assembling the book.
There were questions asked about the font used. The font is verlag and was packaged with the file.