Anand Bhatt, ABA-NET: Monographs

Monographs

Architectural Method
Concerned as we are with the Building itself and not its image or projection, we find the normative Unities of Architectural Representation [plan - mass - surface] problematic as they 'sort' the semantic order of work along their own, instituted but arbitrary lines. Interposing the drawing as a positive thing [an Ichnographic object] in the process fragmenting our thought.
Composition of the City
- Which is to say that the architectural is constructed of a material exhibiting a fossilic character, its diagrammatic status letting its inner meaning evaporate in favour of a rather mathematic abstraction. --> Mapping Heterologies/Project - IX
- To Have - Spoken + And a sense of suffocation inherent in the systems where power is not embodied in the body, where it rather passes through all. --> A City Machine The place where we collaborate to construct it, only to become it's victims. Bits in data streams, quantities created, processed and consumed. --> Societies of Control +
Dynamics of Meaning within an Architectural Form -->
- Le Corbusier's villa Savoye
- The Meenakshi Sundereshvar temple at Madurai
{ On Typology-Mapping Heterologies } --> Societies of Control +
Computer Aided Knowledge Technologies --> Solar and Industrial Infrastructures +

"The common sense that we generate to guide our actions in making things tends to collapse into a from of realism and to determine our objects in such a way that it reveals about our immediate purposes and intentions and for which our things are made, then about itself. That is to say, when we paint, sculpt or build; we create and confirm an image of the world which was already implicit in the hidden model of our own thinking. Thus instead of reading of the world made in the direct terms of desires met and intentions satisfied, the world of our artifice can be read symptomatically as an reflection of images and desires either suppressed, hidden or unrecognised. This ‘backward’ reading shows not just that the things we make are conditioned by ontological models of what we are prepared to let a thing be, but also the world we make simultaneously and inevitably forms an inscription of (self-imposed) conditions of our subjectivity. With art we underwrite our subjectivity. Yet subjectivity is also something we make: and it is made in reciprocal reference to the objects by which we create realms of our life."

John Whiteman.

Monographs

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