Abstract 15: DESIGNING MATRICES (ACCEPTED FOR POSTER)

architectural language vs. mental structures

Introduction
What if the design is in the first place the design of a mental framework, or a mental matrix? What if the architect or designer becomes, by using his typical skills, a translator of those mental constructions? This is a keystone in the present research.

The research goes back to the communication mechanisms imbedded in the old engravings of 15th and 16th architectural theorists. The direct communication of a theory by using images (frontispieces, landscapes, allegorical compositions) made it possible to transfer certain knowledge from the architects mind to an audience in a very fast and efficient way. Efficient but dangerous and challenging because of the secondary effects (multi-interpretable, destabilizing ...). This paper will elucidate this briefly.

The research
The actual research develops a design of a three-dimensional so-called matrix. This can be seen as an actual interpretation of those mechanisms, traced in those historical examples. This design uses an architectural language (space, view, perspective, projection, plans, distances, materials …) to construct a theoretical discourse.

The matrix is layered. A first level handles the work of my offices for architecture architettura and ALT. A second level is divided in 16 fields and might grow in the future. Each field has a name: materiality, old masters, typology, image, commonplace, architecture, subversion, new masters, splinters, unclearness, puzzles, texture, strategy, intensity, X and fact. A third level is a matrix built up with texts. Another multi-layered level introduces images ranked in series, called catalogues raisonné. Those catalogues are introduced to rethink thoughts that are almost unspeakable in words. So the output consists an elaboration of the matrix, texts and catalogues.

To generate new elements in the construction (the design of matrices) and a new content of the matrix (texts, images, other media) several methods are introduced :

- The search of so-called nomads. Those are elements which interfere in the different levels, for instance specific terms such as indistinctness or intensity. But sometimes it concerns specific images, words or text fragments.
- Working with specific strategies in mind, for instance communication, form/materiality, experience.
- The reaction on the palimpsest. The interference of several fields in one or more levels generates coincidences, confrontations, tensions, gambles, … Thus provides new reflections, attitudes, …

The characterisation of the knowledge, as a result of designing and using this matrix forms an important element in the research. It looks like knowledge becomes partly transferable, from tacit or even ineffable to explicit.

The next step
The important step in this design method of matrices is the transmittal from the matrix construction for the self to a matrix design for an audience. To manage this conveying it is necessary to understand better the first output and to define a series of elements which will function as possible elements in the design process of the new architecture of the matrix. In this new constellation the audience needs to get used to the whole architectural language before getting started to practise it. With practising is meant, using the different tools in the constellation to create new insights.

The paper ends with a critical reflection on this design attitude and on the opportunities and restrictions of mixing architectural language with mental structures.

Please check out the pdf file.