Morandi-esque: Still Life After Dark
This workshop will engage in architectural acts of translation; advancing an understanding of how the shift from a painterly perspective that Peter Eisenman describes as ‘merely a membrane, a line between a figure and ground’ to an architectural ‘profile [that] is a three-dimensional, formed container’ produces a gap in the semblance between what can be construed as either a speculation of the painter’s imagination and the physical reality of the authentic object. The legible correlation between representation and the represented, inherent to the practice of architecture, between the drawing and the model, or the drawing and building, involves techniques of analysis, construction, translation and documentation.
Morandi stated that ‘there is nothing more surreal or abstract than reality’; therefore, the work will be produced using literal translation of the painting. Attempting to render the objects with a certain degree of autonomy, yet ensuring they strongly coalesce with their source. Paradoxically, the inclusion of a certain degree of estimation is germane in the interest of constructing information that is not made visible. The work will follow Robin Evans’s understanding of architectural drawing as not ‘dominate but always interacting with what it represents’, this can be used to justify Morandi’s subtle variation in representing the same group of objects. The presence of such imaginative discrepancies yields formal improprieties and produces objects that exist in multiple guises. The initial exercise will require a rigorous geometric method of tracing the object’s silhouettes, through the use of arcs of a circle. The traces will be three-dimensionalized through projections using the distance of the object from the painting’s horizon line and their perspectival angle, preventing distortion to Morandi’s outline.
Afnan Jallad/ Hissa AlHamer /Alaa Janahi / Yasmeen Alrumaidh/ Batool Ebrahim / Yazeed Alamasi/ Mohammed Adel/ Fatima Khamis/ Abdulaziz Aljasim/ Hanan Alshehri.