the arms were attached to the wall in the way the shoulder and arm are connected in the body. then, like the elbow, and then like the wrist.
this was to give the movement of the plexi panels a limitation and a correlation to the body. the height of the cantilevered board was determined by my eye height. these panels could then be placed in the grooves cut and removed and replaced into different arms. the plexi was transparent in some areas and then translucent in others. this was all to emphasize the body as the perceiver and the determinant of the relationships of the "thresholds" created.
to propose an architecture [constructed as the manifestation] of a person's understanding,
where the movement through-by the perceiver-constructs the space,
where the crossing of a threshold is different for every person.
no two feel or see the same thing-a wrinkle.
is it possible to think of a space "unshaped" by perception/
in perception, memory plays a role.
memory as perspective-memory as a blur-a long exposure.
does the repetition of an action decrease time? is boredom endless repetition?
to be in one place is not to deny the existence of another, even if that other place cannot be felt or seen.
a place, upon crossing a threshold, opens/closes depending on the intention of the perceiver.
remnants are left behind.
the body is the scale and the intention inhabits the space in a movement or shifting through time.
this changes how a threshold is crossed, how light moves through.
a change in time, in perception, in ground, in architecture.
to construct a threshold
in terms of the wall
the wall creates registrations [the imprint of memory-the space in between]
a change in thickness, a frame, the track [a projection line], translucency
to construct a series of thresholds that tighten the in-between
that project intentional trajectories
the house, the halls, the rooms become the self-collapsing, expanding, tilting, closing, but in relation to the
understanding of the individual.