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The construction document is an instruction manual on how a building is to be assembled.
It assumes a particular lexicon and its own set of rules.
In other words, the construction document is a system.
Unique symbols or tags, dimension lines, and grid overlays are key annotation elements used to issue a standard level of order and consistency.
Productive parasites that pollute the drawing underneath yet mediate crucial information.
A system fails if it succeeds; that is, a system without NOISE cannot function as a system at all.
Where immediacy is the total erasure of the intermediary, hyper-mediacy is the successive accretion of media until a yield point where the presence of the medium is no longer avoidable.
NOISE reaches its maximum, and the MEDIUM becomes the MESSAGE itself.
John Ruskin identifies REDUNDANCE as one of the 6 key principles of GOTHIC architecture.
REDUNDANCE is a SEA of NOISE; an extreme excess of discrete elements that potentiate a near infinite possibility for formal VARIANCE.
In essence, the GOTHIC system is an overheating engine that is permanently unstable.
The MONSTER’s body maintains a similar instability.
It prescribes no one programmatic or spatial condition, but a reservoir of potential circumstances.
To cut a section and plan into its body is to reveal nothing but possibility.
The irony of an unknowable architecture becomes legible in an unreadable drawing.
What is drawn, measured, and annotated, then, is no longer the material and physical constraints of a fixed space but a vortex of possible outcomes.
A hyper-mediatic field that excites a GOTHIC redundancy.
Information is increased until it is no longer information - in doing so, the presence of the MEDIUM is revealed.
Move close enough, and discrete elements can be isolated and identified.
Removed from its context, they are meaningless, and the system self-implodes.
Move far enough, and the volume of elements becomes aggressive and irrational, but the MONSTER’s body solidifies.
SOUND emerges from NOISE.
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