Memory about a dome

What is there to remember and what should be kept that will evoke memories?
What does shadow do for the object?

Part of a presentation for crit

The architecture of a dome assumes an interstitial space, which may trigger fantasies about building. In this project I’m interested in such spaces as the domes of churches, basilicas and cathedrals as it reminds me of the collective unconscious, which is hidden from us in a similar way. Architecturally, interstitial space brings the play of light which travels through the domes, building up an impression of infinite heavenly skies. If this space may be associated with collective memory, than it may become a threshold to the immense cosmos of our unconsciousness. This thought emerges from a spatial sequence in “Solaris”. An interstitial space may be seen as a threshold to the oceanic nature of collective unconscious. The visitor of the space has to take a path in the same way as the hero of the movie: to get from an outer living world, where he is merely a spectator, through the threshold (the interstitial space of a dome) for the reason of experiencing infinity, not knowing sometimes where he is in this journey.
Sequence from "Solaris": Here
My video:


Can the space exist in our dreams and fantasies? What is reality in this case? Though we can see a 3-dimensional video, it has this volume only in our perception when we imagine it, as truly it is on a flat screen. I believe that the result of our imagination becomes the reality of the project and also that of our memories, leading even to fantasies about the seen object or space. These become more real for us rather than the object itself. The outcome of this is the series of three dome fantasies, which are taking the architecture of the dome away from its context. Continuing the theme of transcendence, they all possess a journey of entering their space.

Revealing the inner space

I think that notion of the change in visibility of the inner space, which happens with architecture in 24 hours depending on natural light processes and artificial light, may be interesting for my research.

This video represents the change that happened from 3 pm to 7 pm.

Shadow

Shadow
by Guillaume Apollinaire

Here you are beside me again
Memories of my companions killed in the war
The olive-branch of time
Memories that make only a single memory
As a hundred skins make only a single coat
As these thousands of wounds make only a single
                                newspaper article
Impalpable and ark presence who have assumed
the changing shape of my shadow
an Indian on the watch through all Eternity
shadow you creep beside me
but you do not hear me any more
you will not know any more the divine poems I sing
but I hear you still and see you still
Destinies
Multiple shadows may the sun preserve you
You who love me so much that you will never leave me
And who dance in the sun without stirring the dust
Shadow ink of the sun
Signature of my light
Holder of sorrows
A god that condescends.

Translated from the french by Christipher Middleton

The Penguin Book of First World War poetry, 1979




 Wire model and its shadow:

Shadow projected on a transparent paper and pictured from the outer side:

Work with dome section

Being interested in the qualities of the light, I've extruded the section of the dome (St. Paul's Cathedral)  in a model. I will continue the experiment using another material, which might be transparent.

By Christopher Wren, original image here

A model of a section.

In this model the dome becomes the only visible part of the building as the rest of it is situated under the ground.
The experience of space changes considering the entrering path and the opportunity of seeing the interstitial space through a small window in the inner structure of the dome.

Translating archetype into a shape

I tried to create the form using the narration of the archetype description.
I think it wasn't a successful step as it restricts design.

The extracts are taken from "Man and His symbols",
C.G. Jung 

Dome study, light and shadow

I've made the study of a dome and made an experiment with light and a sketch model.
The interesting thing is that form of an object and the interstitial space inside it may be explored with the help of the shadow.

I've made horizontal sections of the dome
over the same hight and connected them
into a shape

The form of both objects may seem the same





Here the light reveals the real shape of the objects

References

p. 37, JUNG AND EASTERN THOUGHT, Harold G. Coward "I was in a house I did not know, which had two storeys. It was "my house". I found myself in the upper storey, where there was a kind of salon furnished with fine old pieces in Rococo style. On the walls hung a number of precious old paintings. I wondered that this should be my house and thought "not bad". But then it occurred to me that I did not know what the lower floor looked like. Descending the stairs, I reached the ground floor. There everything was much older. I realised that this part of the house must date from about the fifteenth or sixteenth century. The furnishings were mediaeval, the floors were of red brick. Everywhere it was rather dark. I went from one room to another thinking "now I really must explore the whole house." I came upon a heavy door and opened it. Beyond it, I discovered a stone stairway that led down into a cellar. Descending again, I found myself in a beautifully vaulted room which looked exceedingly ancient. Examining the walls, I discovered layers of brick among the ordinary stone blocks, and chips of brick in the mortar. As soon as I saw this, I knew that the walls dated from Roman times. My interest by now was intense. I looked more closely at the floor. It was of stone slabs and in one of these I discovered a ring. When I pulled it, the stone slab lifted and again I saw a stairway of narrow stone steps leading down to the depths. These, too, I descended and entered a low cave cut into rock. Thick dust lay on the floor and in the dust were scattered bones and broken pottery, like remains of a primitive culture. I discovered two human skulls, obviously very old, and half disintegrated. Then I awoke". SOLARYS, directed by A. A. Tarkovsky The sequence ubruptly brings the viewer from a living 3-dimensional space to a 1-dimensional substance of the cosmos towards the Solaris, which is meant to be a mystery according to the narration of the motive. It seems as if it is a dream. The notion of the whole movie is important, especially the ocean motive, that visualises the projections and memories. Isn’t the collective unconscious a collective memory?

LANDSCAPE FROM A DREAM, Paul Nash (image from "Paul Nash" by Margot Hates) The space, which is a seaside landscape, may cause associations with the world of unconscious by means of the sea. We contemplate the site through a framework, and it’s shadow can determine the time of the day and the position of the sun, which probably should be behind us. Indeed in the mirror, pictured in the painting, we can notice a red circle that is about to set in the mountains. The artist involves a viewer into the space of the painting, by showing the space that is behind the viewer with the help of the mirror and is actually taking him into artist’s dream according to the title of the work. The perspective exaggerates by means of other red round objects. There is a view forward and a view back, which creates a deep 3-dimensional space in our imagination. But is there a viewer?

ST. PETER’S BASILICA This building was originally founded in 324. The sequence of visiting gives impression by alternations of opposites in space. Moreover, it is the only church that has an altar in the centre, which correlates it to the symbolism of the collective unconscious: the notion of the circle or the mandala. The interstitial space between the domes possesses a narrow staircase, which may not be seen from any of the views.

About Dimension

I refer to G. Bachelard book titled “The Poetics of Space” and his writing on Intimate Immensity, which is reflection upon the Diole’s work: “And when we have read his earlier books and shared with him this conquest of the intimacy of water, we come to a point where we recognize in this space-substance, a one-dimensional space. One substance, one dimension. And we are so remote from the earth and life on earth, that this dimension of water bears the mark of limitlessness”.

Writings about the Research Scheme

Infinity may become a part of the Narration. It represents ever-lasting cyclic movement as well as immense space. I believe that this indulges solitude.

How tangible can the outcome appear?

Abstraction may express symbols and archetypes, which emerge from the unconsciousness. 

It inclines to vagueness and may generate virtual space if prevails over Construction.

Solution stating its equilibrium with Construction is positioned as a Diagram.

Diagram shows the interaction between Construction and Abstraction. It involves the dimension and the scale.

Journey 1 is a path of the architectural form, which has its own cycle: it’s being imagined, constructed, used, ruined, etc.

Journey 2 may be a process of imagining architecture. It involves both: the creator and the creation. It’s formed by a process and Past and Present are part of it.

Archetypes are expressed in an abstract form and are reborn during the Journey 2, forming the Narration.

While Dream is born by unconscious, Tangibility is the outcome of precise conscious  investigation.

Expression emanates from several Issues: Narration, Tangibility and Dream.