https://thomaspearce.xyz Thomas Pearce Fri, 07 Jun 2024 07:47:01 +0000 https://thomaspearce.xyz en https://thomaspearce.xyz/Home Fri, 24 Aug 2018 08:09:45 +0000 Thomas Pearce https://thomaspearce.xyz/Home fabrications&nbsp; speculations performances writings teaching https://thomaspearce.xyz/about Fri, 24 Aug 2018 08:09:46 +0000 Thomas Pearce https://thomaspearce.xyz/about Thomas Pearce is an architectural designer, researcher and lecturer based in Berlin and Weimar. Dr. Thomas Pearce is Junior Professor for Emerging Technologies and Design at the Bauhaus University in Weimar, Germany. He was previously a Lecturer at the Bartlett School of Architecture, where he has taught as an undergraduate unit master (UG8, 2014-2019) and was module coordinator and tutor in the Design for Manufacture MArch programme. He has also taught at the Architectural Association in London (2013-2017) and has been a guest critic at, amongst others, the University of Greenwich, Syracuse University, the University of California San Diego, the UdK Berlin and the University of Toronto.&nbsp; Thomas’ research situates the potential of technologies of digital capture, simulation and fabrication between their capacity as tools for increased precision on the one hand and as generators of new uncertainties, shadows and unknowns on the other. After having worked extensively in practice as a specialist for digital capture, design and fabrication, he now works as an independent architectural designer within a changing network of collaborations and at various scales. Thomas holds a B.A. and M.A. (KU Leuven, Belgium) in Cultural History and a B.Sc. (TU Berlin, Germany), M.Arch. and PhD (Bartlett, University College London, EPSRC funded) in Architectural Design. contact: thomas.pearce@uni-weimar.de instagram ︎ <img width="2054" height="2641" width_o="2054" height_o="2641" data-src="https://freight.cargo.site/t/original/i/4f2609b031481a52120ee4459eaaaba32ca7a77076d79d2a04c9cda0f1e1e8d3/Passbild_35x45_ThomasPearce.jpg" data-mid="149545057" border="0" data-scale="34" src="https://freight.cargo.site/w/1000/i/4f2609b031481a52120ee4459eaaaba32ca7a77076d79d2a04c9cda0f1e1e8d3/Passbild_35x45_ThomasPearce.jpg" /> https://thomaspearce.xyz/Footer Fri, 24 Aug 2018 08:09:46 +0000 Thomas Pearce https://thomaspearce.xyz/Footer CARGO COLLECTIVE, INC. LOS ANGELES, CALIF. 90039—3414 https://thomaspearce.xyz/incremental-wall Fri, 07 Jun 2024 07:47:01 +0000 Thomas Pearce https://thomaspearce.xyz/incremental-wall Incremental WallRobotically formed prototype for a mobile artist studio With Greg Storrar and sculptor James CapperResearch Assistant: Theo Brader-Tan and Gary Edwards Completion: 2023 MONITOR INCREMENTAL WALL is the first scale 1:1 prototype for the inhabitable nomadic sculpture MONITOR. The prototype, formed of two panelled skins fabricated using robotic incremental sheet forming, is formed by the objects its stows as well as by the imprints of bodies inhabiting the studio. The sculptural piece develops as a conversation between the two skins, between the artistic and the domestic and is marked by transformations, mistranslations and echoes passing through the wall. &nbsp; &nbsp; Video by Greg Storrar <img width="1749" height="2481" width_o="1749" height_o="2481" data-src="https://freight.cargo.site/t/original/i/248a2dd607f7d8709e1142120e8b6a520b7635da2ad786e7136c122501ca1f69/IncrementalWall_1.jpg" data-mid="212469442" border="0" src="https://freight.cargo.site/w/1000/i/248a2dd607f7d8709e1142120e8b6a520b7635da2ad786e7136c122501ca1f69/IncrementalWall_1.jpg" /> <img width="1525" height="1080" width_o="1525" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5b295ca0b0883114293220b9b28f9929ca5395a0cdbc547fd12be8342c03e1e7/IncrementalWall_2.jpg" data-mid="212469443" border="0" src="https://freight.cargo.site/w/1000/i/5b295ca0b0883114293220b9b28f9929ca5395a0cdbc547fd12be8342c03e1e7/IncrementalWall_2.jpg" /> <img width="1189" height="1673" width_o="1189" height_o="1673" data-src="https://freight.cargo.site/t/original/i/ba9402a96f074ad6f726a715458d208e696459fc189ad1fbf4183bca6bda0faa/IncrementalWall_3.jpg" data-mid="212469444" border="0" src="https://freight.cargo.site/w/1000/i/ba9402a96f074ad6f726a715458d208e696459fc189ad1fbf4183bca6bda0faa/IncrementalWall_3.jpg" /> <img width="1757" height="2489" width_o="1757" height_o="2489" data-src="https://freight.cargo.site/t/original/i/6f1356225e8fa845c77484d4ee5856e01a88711d838aea1f3da903d0768641e2/IncrementalWall_4.jpg" data-mid="212469445" border="0" src="https://freight.cargo.site/w/1000/i/6f1356225e8fa845c77484d4ee5856e01a88711d838aea1f3da903d0768641e2/IncrementalWall_4.jpg" /> <img width="1758" height="2485" width_o="1758" height_o="2485" data-src="https://freight.cargo.site/t/original/i/50a096632dae2297965049e4fc11f16118116178a0c0f535fa14a27f5bab599c/IncrementalWall_5.jpg" data-mid="212469446" border="0" src="https://freight.cargo.site/w/1000/i/50a096632dae2297965049e4fc11f16118116178a0c0f535fa14a27f5bab599c/IncrementalWall_5.jpg" /> <img width="1754" height="2485" width_o="1754" height_o="2485" data-src="https://freight.cargo.site/t/original/i/9802540a11f9998674fd8431340ac9f2a561100005ddc4d24664d58df8ecdcdc/IncrementalWall_6.jpg" data-mid="212469447" border="0" src="https://freight.cargo.site/w/1000/i/9802540a11f9998674fd8431340ac9f2a561100005ddc4d24664d58df8ecdcdc/IncrementalWall_6.jpg" /> <img width="1190" height="989" width_o="1190" height_o="989" data-src="https://freight.cargo.site/t/original/i/ccbbe6d6690528e4d0d1c10c89dcd7e9d2c8f44ba13e1f231937d868b0e473d9/IncrementalWall_7.jpg" data-mid="212469448" border="0" src="https://freight.cargo.site/w/1000/i/ccbbe6d6690528e4d0d1c10c89dcd7e9d2c8f44ba13e1f231937d868b0e473d9/IncrementalWall_7.jpg" /> <img width="1236" height="1753" width_o="1236" height_o="1753" data-src="https://freight.cargo.site/t/original/i/6ca6c06869ade70819816a267414372e0666012c20da5bcc56994b775c4fe59e/IncrementalWall_8.jpg" data-mid="212469449" border="0" src="https://freight.cargo.site/w/1000/i/6ca6c06869ade70819816a267414372e0666012c20da5bcc56994b775c4fe59e/IncrementalWall_8.jpg" /> <img width="1757" height="2481" width_o="1757" height_o="2481" data-src="https://freight.cargo.site/t/original/i/36b29a2e3d97afb7bf7060ea9c4b01d93087de0752ed6afb18c18b8e05a408f6/IncrementalWall_9.jpg" data-mid="212469450" border="0" src="https://freight.cargo.site/w/1000/i/36b29a2e3d97afb7bf7060ea9c4b01d93087de0752ed6afb18c18b8e05a408f6/IncrementalWall_9.jpg" /> <img width="1757" height="2485" width_o="1757" height_o="2485" data-src="https://freight.cargo.site/t/original/i/0698263288a1ad4ef003eac126cfb8603c8b3b9624fd9b9178f8410dba8916c4/IncrementalWall_10.jpg" data-mid="212469451" border="0" src="https://freight.cargo.site/w/1000/i/0698263288a1ad4ef003eac126cfb8603c8b3b9624fd9b9178f8410dba8916c4/IncrementalWall_10.jpg" /> <img width="1757" height="2490" width_o="1757" height_o="2490" data-src="https://freight.cargo.site/t/original/i/8e6eca093e655a4184fcf0c0be391e1e51e856893353078c690d97eec9915f98/IncrementalWall_11.jpg" data-mid="212469452" border="0" src="https://freight.cargo.site/w/1000/i/8e6eca093e655a4184fcf0c0be391e1e51e856893353078c690d97eec9915f98/IncrementalWall_11.jpg" /> <img width="1756" height="2490" width_o="1756" height_o="2490" data-src="https://freight.cargo.site/t/original/i/281859efab2c01ed886091edee0f1b0ca0bfa442d13be3861572e2301d176f69/IncrementalWall_12.jpg" data-mid="212469453" border="0" src="https://freight.cargo.site/w/1000/i/281859efab2c01ed886091edee0f1b0ca0bfa442d13be3861572e2301d176f69/IncrementalWall_12.jpg" /> <img width="1189" height="1592" width_o="1189" height_o="1592" data-src="https://freight.cargo.site/t/original/i/231f021552c87bc9e80a8a27b3a936cbde2f5bfae114ca35ee4a1e105d618c9f/IncrementalWall_13.jpg" data-mid="212469454" border="0" src="https://freight.cargo.site/w/1000/i/231f021552c87bc9e80a8a27b3a936cbde2f5bfae114ca35ee4a1e105d618c9f/IncrementalWall_13.jpg" /> <img width="1758" height="2490" width_o="1758" height_o="2490" data-src="https://freight.cargo.site/t/original/i/a51a375e0fe966c90ffe9205491bd4408dca4d7d6d8a59f010c3b48e6aaf054b/IncrementalWall_13b.jpg" data-mid="212469455" border="0" src="https://freight.cargo.site/w/1000/i/a51a375e0fe966c90ffe9205491bd4408dca4d7d6d8a59f010c3b48e6aaf054b/IncrementalWall_13b.jpg" /> <img width="1749" height="2481" width_o="1749" height_o="2481" data-src="https://freight.cargo.site/t/original/i/1428fb937a21d5c98f13d4ea22b882ad9e15aa01f659a1425b9448132aac1873/IncrementalWall_14.jpg" data-mid="212469456" border="0" src="https://freight.cargo.site/w/1000/i/1428fb937a21d5c98f13d4ea22b882ad9e15aa01f659a1425b9448132aac1873/IncrementalWall_14.jpg" /> <img width="1757" height="2490" width_o="1757" height_o="2490" data-src="https://freight.cargo.site/t/original/i/4d25fb5a0d244e6f70cab56cdb637bbde1a8c474df2cd55374758a1d84b1998d/IncrementalWall_15.jpg" data-mid="212469457" border="0" src="https://freight.cargo.site/w/1000/i/4d25fb5a0d244e6f70cab56cdb637bbde1a8c474df2cd55374758a1d84b1998d/IncrementalWall_15.jpg" /> <img width="1749" height="2481" width_o="1749" height_o="2481" data-src="https://freight.cargo.site/t/original/i/a132a6f7c5dfbc5bd6bdb8f793f3e1cd3ef8e2a2077b58706285fd802f8da883/IncrementalWall_16.jpg" data-mid="212469458" border="0" src="https://freight.cargo.site/w/1000/i/a132a6f7c5dfbc5bd6bdb8f793f3e1cd3ef8e2a2077b58706285fd802f8da883/IncrementalWall_16.jpg" /> <img width="1754" height="2490" width_o="1754" height_o="2490" data-src="https://freight.cargo.site/t/original/i/f6b62bd5e800f8172fa8558a66310c1796fc5fb0aefea87cede9215ac8fff4b5/IncrementalWall_17.jpg" data-mid="212469459" border="0" src="https://freight.cargo.site/w/1000/i/f6b62bd5e800f8172fa8558a66310c1796fc5fb0aefea87cede9215ac8fff4b5/IncrementalWall_17.jpg" /> <img width="1758" height="2485" width_o="1758" height_o="2485" data-src="https://freight.cargo.site/t/original/i/573fcaaf75e5c0fe78b18b18db08434cf4a76e659b29a7e61b0a5a7a62552a0f/IncrementalWall_18.jpg" data-mid="212469460" border="0" src="https://freight.cargo.site/w/1000/i/573fcaaf75e5c0fe78b18b18db08434cf4a76e659b29a7e61b0a5a7a62552a0f/IncrementalWall_18.jpg" /> Pictures by Greg Storrar https://thomaspearce.xyz/this-time-your-24-eyes-look-inwards Mon, 03 Jan 2022 11:27:25 +0000 Thomas Pearce https://thomaspearce.xyz/this-time-your-24-eyes-look-inwards This time your 24 eyes look inwards Parallax as a Design Research Practice between Speculative Historiography and Experimental Digital Fabrication Lecture @ SensiLab Forum Monash University Melbourne https://sensilab.monash.edu/ This talk uses the notion of parallax to discuss some recent works from the design research practice of Thomas Pearce. Parallax, the effect whereby the position or direction of an object appears to differ when viewed from different positions, is fundamental to the geometrical reconstruction of three-dimensional spatial positions from two-dimensional information and lies at the basis of technologies like photogrammetry. Moving beyond this metrological meaning, the work proposes an expanded, generative notion of parallax that accommodates and generates multiplicity, thereby challenging the imperatives of homogenous categorisation in current (digital) design practice. The method is developed through a series of projects oscillating between speculative historical enquiry and experimental technological design practice. Through the description of these projects, ranging from the photogrammetric reconstruction of a long-destroyed unphotographable tailor shop to the fabrication of a prototype for an inhabitable mobile amphibious sculpture, the parallactic method unfolds simultaneously as a mode of observation and creative invention: following parallactic shifts between the heterogeneous points of view of historical interlocutors, technological agents (the projects use digital fabrication, scripting, 3D scanning and robotics) and further ‘others’, heterogeneous design artefacts are created that hold the capacity for an ongoing multiplicity of interpretation and open-ended re-invention. The talk also introduces a theoretical framework for this entanglement of parallactic knowing and making by referring to poststructuralist philosophy (in particular Karen Barad’s writings on quantum theory) and questioning the very separability of historiography and design practice, capture and fabrication, instead describing design research as a mutually implicated onto-epistemological practice. https://thomaspearce.xyz/nomadic-studio Fri, 24 Aug 2018 08:09:49 +0000 Thomas Pearce https://thomaspearce.xyz/nomadic-studio Monitor. A nomadic artist studio. Mobile artist studio inspired by lizard locomotion With Greg Storrar and sculptor James CapperResearch Assistant: Theo Brader-Tan Completion: 2021 <img width="2020" height="1236" width_o="2020" height_o="1236" data-src="https://freight.cargo.site/t/original/i/e791248c390eac1f1811eb145da725ac11deb8c888ef1daa533e711e6f1d7f06/3.jpg" data-mid="54008791" border="0" src="https://freight.cargo.site/w/1000/i/e791248c390eac1f1811eb145da725ac11deb8c888ef1daa533e711e6f1d7f06/3.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8fd64103a7f98d4a37d8d14acf08aaf895627743947cc0f4f43da001cfbbccfa/2.jpg" data-mid="54008790" border="0" src="https://freight.cargo.site/w/1000/i/8fd64103a7f98d4a37d8d14acf08aaf895627743947cc0f4f43da001cfbbccfa/2.jpg" /> A nomadic studio, confronting the vastness of varying landscape conditions with the purity of a series of singled out, staged domestic and artistic rituals.FRAME // The studio acts as a device to frame the landscape. The inside space is a minimalist contemplative space, a simple, almost monastic cube. RITUAL // The interior is small, it allows for only one artistic or domestic activity (drawing, cooking, reading, washing, sleeping, working on a laptop) to take place at once. This is taken as an opportunity to elevate and stage these rituals, framing them in dialogue with the landscape.ARTICULATION // The furniture and fittings needed for these rituals fold, roll or rotate out of the walls of the studio when active. When dormant, the clutter of production and inhabitation is stowed into these walls. Its traces bulge out the structure’s exterior elevations – an imprinted catalogue of the rituals taking place on the inside.EXPEDITION // The studio is designed compactly to be transportable on the back of a lorry and deployable in different landscape contexts. A series of larger articulations allow for elements exceeding these dimensions to be folded away within the studio’s bounding box.FABRICATION // The studio trials the use of Coretinium, a lightweight steel composite panel mostly used in the transport industry, combined with incremental sheet steel forming, a technique currently being trialed by the Bartlett’s DfM Research Clusters. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3fc2c900cb7c9537aff1444d48a27ead74a31118e85e0d287c3cd1f60973c80b/4.jpg" data-mid="54008792" border="0" src="https://freight.cargo.site/w/1000/i/3fc2c900cb7c9537aff1444d48a27ead74a31118e85e0d287c3cd1f60973c80b/4.jpg" /><img width="3001" height="2000" width_o="3001" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6d12ea67250481e6d9484256c8afd576d389ffa04d1ae6ae933e310d28a02e2f/1.jpg" data-mid="54008789" border="0" src="https://freight.cargo.site/w/1000/i/6d12ea67250481e6d9484256c8afd576d389ffa04d1ae6ae933e310d28a02e2f/1.jpg" /><img width="2279" height="2000" width_o="2279" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d906699c5aba31327af284e9b9070c3e508ca70ccb3217a247429f6ea27f3c4c/5.jpg" data-mid="54008788" border="0" src="https://freight.cargo.site/w/1000/i/d906699c5aba31327af284e9b9070c3e508ca70ccb3217a247429f6ea27f3c4c/5.jpg" /><img width="1754" height="1241" width_o="1754" height_o="1241" data-src="https://freight.cargo.site/t/original/i/14aadd68e7f6bd0c344e7fbda4c4886c968fb81d9a36cf22b4572144551e0755/MS_IntPersp.jpg" data-mid="22872844" border="0" src="https://freight.cargo.site/w/1000/i/14aadd68e7f6bd0c344e7fbda4c4886c968fb81d9a36cf22b4572144551e0755/MS_IntPersp.jpg" /> <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/ff6dde92bfe055eb1d167e33f1afaeb13edcf9b959007b8ac028740c280706df/190907-model-02.gif" data-mid="50304837" border="0" src="https://freight.cargo.site/w/1000/i/ff6dde92bfe055eb1d167e33f1afaeb13edcf9b959007b8ac028740c280706df/190907-model-02.gif" /><img width="1155" height="886" width_o="1155" height_o="886" data-src="https://freight.cargo.site/t/original/i/848fd8658a9578e266d395957532c990979c4147469c73df6696ff8d0dcbc7a3/IMG-20180823-WA0004.jpg" data-mid="22873268" border="0" src="https://freight.cargo.site/w/1000/i/848fd8658a9578e266d395957532c990979c4147469c73df6696ff8d0dcbc7a3/IMG-20180823-WA0004.jpg" /> https://thomaspearce.xyz/a-conversation-with-a-chair-two-ladders-and-a-passer-by Tue, 13 Oct 2020 12:52:51 +0000 Thomas Pearce https://thomaspearce.xyz/a-conversation-with-a-chair-two-ladders-and-a-passer-by A Conversation with a chair, two ladders and a passer-byField notes written with Gary Edwards presented at the Acadia 2020 Conference ‘Distributes Promiximities’ about the robotically fabricated prototypes for&nbsp; Monitor with Greg Storrar and sculptor James Capper.Research Assistants: Gary Edwards, Cristina Garza, Theo Tan&nbsp; Someone walking past the robotics lab, seeing the steel panel with the shape of a chair pressed into it, asks us how we have managed to vacuum-form steel. ... continue reading below ... <img width="558" height="558" width_o="558" height_o="558" data-src="https://freight.cargo.site/t/original/i/3a8beea99ba82db2175d678febcc214d2c8e4cb2eed659ddf7f82e89f34d5ac5/CTS_03.jpg" data-mid="85448620" border="0" src="https://freight.cargo.site/w/558/i/3a8beea99ba82db2175d678febcc214d2c8e4cb2eed659ddf7f82e89f34d5ac5/CTS_03.jpg" /> <img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/2be226bbbedf2994ceeb29b1a9f9f05db572a1f4586287ab7ac03eeb6a1c09af/CTS_14.jpg" data-mid="85693415" border="0" src="https://freight.cargo.site/w/1000/i/2be226bbbedf2994ceeb29b1a9f9f05db572a1f4586287ab7ac03eeb6a1c09af/CTS_14.jpg" /> The chair belongs to James, we explain, the sculptor with whom we are designing and building a mobile artist studio. James has become famous for making fantastically absurd sculptures – he is just finishing a boat that will pull itself up the bank of the Thames, inspired by the comical amphibian mudskipper after which it is named. Like all of James’ sculptures, it actually works. Now we are collaborating on the next amphibious sculpture inspired by lizard locomotion. The chair is one of many objects that will come on its expeditions and will be stowed away into the wall of the extremely compact studio. We picked the old-fashioned piece, with its leather upholstering, turned legs and backrest stiles because it conjures up images of Admiral Nelson´s chair on the HMS Victory – only that now, in an odd hybridisation of pre-industrial and post-industrial manufacturing processes, it is 3D-scanned and robotically formed. &nbsp; &nbsp; Video by Greg StorrarAll of the 50+ panels of the 1:1 prototype wall that we are currently building are fabricated using robotic Single Point Incremental Forming (SPIF). But it is whilst prototyping this chair panel, with its awkward geometry and challenging depth, that we tear the most sheets, blunt the most end effectors – and consequently learn the most. We learn that the flexible timber framework backing the panels, which we developed because it was quick, cheap and variable, had the added advantage of yielding to forces, which compensates for the more unforgiving material constraints of the sheet steel we are forming. We learn that, as the robot gradually presses the panel into shape, the timber sub-structure tends to creak like an old sailing boat. We learn that our end effector should equally be softer than the material it is forming and finally settle on a brass stylus, which we have to sharpen like a pencil between forming. <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/f1247cdee634e8c1716980e8e8696b5c5629a6fcbc97f56075cf6c98269f7304/01_Chair_imported.jpg" data-mid="85449065" border="0" src="https://freight.cargo.site/w/1000/i/f1247cdee634e8c1716980e8e8696b5c5629a6fcbc97f56075cf6c98269f7304/01_Chair_imported.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/6ba475d0a96614d8f768f38822eeb94ff008e63fd79a9f2155634dc2f46683da/02_Chair_DraftAngle.jpg" data-mid="85449066" border="0" src="https://freight.cargo.site/w/1000/i/6ba475d0a96614d8f768f38822eeb94ff008e63fd79a9f2155634dc2f46683da/02_Chair_DraftAngle.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/be36f6d903f50a7f7865d2412006ba4dec5a0565664fd8395f5fa032183aae32/03_Chair_DraftAngle_Selection.jpg" data-mid="85449063" border="0" src="https://freight.cargo.site/w/1000/i/be36f6d903f50a7f7865d2412006ba4dec5a0565664fd8395f5fa032183aae32/03_Chair_DraftAngle_Selection.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/de677a564b34f60dec57cda20740191ab9671f17a16dda62c4c477fb0090601f/06_Chair_relaxedBoundaries.jpg" data-mid="85449064" border="0" src="https://freight.cargo.site/w/1000/i/de677a564b34f60dec57cda20740191ab9671f17a16dda62c4c477fb0090601f/06_Chair_relaxedBoundaries.jpg" /> Because the chair is difficult (and perhaps slightly silly), because it tells the fabrication process what to do rather than just listening to what it has on offer, we learn how to analyse and optimise formable geometries: filtering the scan according to draft angles; smoothing and relaxing the mesh; modelling the surface between the scan and the edge of the formable surface according to allowable geometrical constraints (many quantifiable, many intuited) for robotic forming. We learn to generate toolpaths that minimise the common SPIF ‘pillow effect’ and continue to battle what we call the ‘pinching effect’, an extreme case of pillowing that appears specifically at the point where the long valleys around the chair’s legs close in on themselves and accumulate (or ‘pinch’) excess material. Our dialogue with the chair, or rather the dialogue between the chair and the sheet with us as mediators, becomes more interesting when more voices join in. A conversation between the studio’s two skins unfolds. The exterior 0.9mm steel skin is riveted onto a structural frame (the very same frame we use for forming, with a set of standardised clamping plates, to secure the blank panels in the first place) whereas the interior 0.9mm aluminium skin is hung, thermally separated, from the load-bearing exterior frame. <img width="1723" height="1723" width_o="1723" height_o="1723" data-src="https://freight.cargo.site/t/original/i/bfbd1986d861f0c460d657c5309f32fa52a15a917f2993f5f633067a0fcb6b42/CTS_08.jpg" data-mid="85451588" border="0" src="https://freight.cargo.site/w/1000/i/bfbd1986d861f0c460d657c5309f32fa52a15a917f2993f5f633067a0fcb6b42/CTS_08.jpg" /> <img width="1411" height="1411" width_o="1411" height_o="1411" data-src="https://freight.cargo.site/t/original/i/bed7c64c9cb240ebd851ceb41682c604aea5daccbbf077cc9ff885309920ef80/CTS_09.jpg" data-mid="85451589" border="0" src="https://freight.cargo.site/w/1000/i/bed7c64c9cb240ebd851ceb41682c604aea5daccbbf077cc9ff885309920ef80/CTS_09.jpg" /> <img width="1332" height="1332" width_o="1332" height_o="1332" data-src="https://freight.cargo.site/t/original/i/9f1bf6d8e2a7984ba6d46eb4a8ee7293de47ad0d9452694102a3387153b03e1e/CTS_10.jpg" data-mid="85451590" border="0" src="https://freight.cargo.site/w/1000/i/9f1bf6d8e2a7984ba6d46eb4a8ee7293de47ad0d9452694102a3387153b03e1e/CTS_10.jpg" /> <img width="2704" height="1943" width_o="2704" height_o="1943" data-src="https://freight.cargo.site/t/original/i/eaf1cdd4018841a9e3339075633960baec7ec3686237186970fbd047aa3d26c5/CTS_11.jpg" data-mid="85451647" border="0" src="https://freight.cargo.site/w/1000/i/eaf1cdd4018841a9e3339075633960baec7ec3686237186970fbd047aa3d26c5/CTS_11.jpg" /> The conversation between the two skins is marked by transformations and productive mistranslations: an axe head inside offers a boot scraper outside; the swing of James’ knee, sitting at his desk on the inside, presses into the aluminium skin, the knee cap traced by a secondary toolpath expressing the patella structure, and translates as a bulge on the outside, where it is used as a leg-up to climb an exterior ladder and access the studio’s roof. A secondary dotted pattern, added to the upper leg, provides extra grip to this step. The inner sitter helps the outer climber. <img width="830" height="1245" width_o="830" height_o="1245" data-src="https://freight.cargo.site/t/original/i/a53e1ffadce8be5940e234f68c4c458bb72d01aa18814775fec731a73c86aa48/CTS_13.jpg" data-mid="85693024" border="0" src="https://freight.cargo.site/w/830/i/a53e1ffadce8be5940e234f68c4c458bb72d01aa18814775fec731a73c86aa48/CTS_13.jpg" /> <img width="750" height="1125" width_o="750" height_o="1125" data-src="https://freight.cargo.site/t/original/i/3bed82bf169699727f8bff53201a68735ff9adb04ffadf31c3bfab0e99d95e00/CTS_12.jpg" data-mid="85693025" border="0" src="https://freight.cargo.site/w/750/i/3bed82bf169699727f8bff53201a68735ff9adb04ffadf31c3bfab0e99d95e00/CTS_12.jpg" /> Without touching, through the mediation of the thick in-between of the physical wall, of the digital modelling process and the material and robotic fabrication constraints, the two skins modulate each-other, resulting in strange hybrids. The exterior ladder, for example, echoes a moveable ladder on the inside, transforming the intersection of its treads and stringers to form three pairs of circular protrusions, ‘nipples’ that accept the bent rungs for the exterior ladder. Below these nipples, another knee emerges, which, rather than an echo of an internal knee, follows the need for an additional step between the first knee and the first rung. The ladder’s knee is the deepest and steepest piece of forming we do. <img width="2000" height="1562" width_o="2000" height_o="1562" data-src="https://freight.cargo.site/t/original/i/41eb3274c00ba7d30e1426914a5f118f3ed4901f4a7e1927d20c67dd7d7bd9ed/CTS_01.jpg" data-mid="85448268" border="0" src="https://freight.cargo.site/w/1000/i/41eb3274c00ba7d30e1426914a5f118f3ed4901f4a7e1927d20c67dd7d7bd9ed/CTS_01.jpg" /> We have nearly forgotten the person who had prompted our train of thought with the initial question about the chair panel – and who is still listening, though seeming slightly puzzled about how the conversation has moved from a timber chair to walls growing nipples and ladders begetting knees. Perhaps the project’s conceptual framework has escalated? But then again, perhaps by doing so, it has continued to challenge us as digital makers? And perhaps, within the cross-contamination between bodies, objects, skins and code, another type of knowledge has emerged – a hybrid knowledge? In the background, the creaking boat sound grows louder and louder, it is time we sharpen our brass pencil. Acknowledgements Monitor, the mobile studio discussed in this piece, is a project by James Capper, Thomas Pearce and Greg Storrar. The team at The Bartlett School of Architecture (University College London): Thomas Pearce, project lead, design; Greg Storrar (ARB) design; Gary Edwards (ARB), robotics; Theo Tan and Cristina Garza Lasierra, research assistants. This project is made possible thanks to generous support from the Higher Education Innovation Fund (UCL Knowledge Exchange grant), the Bartlett’s Architectural Project Fund, Hannah Barry Gallery (London), Izolyatsia (Kyiv) and Tata Steel. Many thanks to the staff at B-Made for enabling and supporting our research. The robotic incremental sheet forming in this project was initially based on a research project developed by Cristina Garza (DfM) in collaboration with Vincent Huyghe of B-Made. https://thomaspearce.xyz/the-reinvention-of-jakob-k Fri, 16 Aug 2019 15:43:08 +0000 Thomas Pearce https://thomaspearce.xyz/the-reinvention-of-jakob-k The reinvention of Jakob K. A contribution to the Exhibition ‘Drawing Attention’ at the Roca Gallery, London, opening September 2019 This drawing forms part of the reconstruction of forgotten Bauhaus choreographer Jakob Klenke’s (1874-1961) works. A collaboration between performance scholars, performers and architects, the reconstruction was developed as an ongoing layering of spatial and choreographical evidence collected throughout the research process. The virtual space of the drawing is co-inhabited by overlapping and often conflicting versions and states of entangled historical proof: 3D lidar scans of Klenke’s studio at the Bauhaus in Dessau; digitally simulated and then physically re-enacted choreographies of his movement practice and working environment; historical drawings and photographs. The agency of this drawn space goes beyond description, prediction or instruction – it becomes an instrument of speculative forensics, generating from its very contradictions different versions of the object of reconstruction. These different versions, born from the re-configuration of spatial evidence, formed the basis of a 2018 performance at Kampnagel in Hamburg called Jakob K. Der Neue Mensch. The architecture of the performance, at once exhibition, stage set and gymnastics studio, was conceived as a series of actualised fragments drawn from the virtual drawing space. These manifested in the form of physical objects (for example architectural fragments of Klenke’s studio, re-invented as hybrids between Marcel Breuer furniture and fitness apparatuses), projected animations and live performative re-enactments. By arranging the space into a series of overlapping and incomplete fragments, the audience experienced the sense of co-inhabiting this non-determinate virtual space of reconstruction and was invited to participate in the (re)invention of the fictional choreographer Jakob Klenke. <img width="2122" height="3000" width_o="2122" height_o="3000" data-src="https://freight.cargo.site/t/original/i/6e5a73e61cf7582330938daf2e8697e337f8ad9be5e959930ce2b283b51d8598/ThomasPearce_ReinventionOfJakobK.jpg" data-mid="48726818" border="0" src="https://freight.cargo.site/w/1000/i/6e5a73e61cf7582330938daf2e8697e337f8ad9be5e959930ce2b283b51d8598/ThomasPearce_ReinventionOfJakobK.jpg" /> https://thomaspearce.xyz/orchestrating-the-edge Tue, 28 Aug 2018 09:46:17 +0000 Thomas Pearce https://thomaspearce.xyz/orchestrating-the-edge Orchestrating the Edge <img width="2500" height="2500" width_o="2500" height_o="2500" data-src="https://freight.cargo.site/t/original/i/5e7b6714fa72f1095025f650ed51bb9a50b3b727680880d6a7dc0f0656c8e44e/TPEARCE_10.jpg" data-mid="23090166" border="0" src="https://freight.cargo.site/w/1000/i/5e7b6714fa72f1095025f650ed51bb9a50b3b727680880d6a7dc0f0656c8e44e/TPEARCE_10.jpg" /> In our digital age, the human eye has lost its privileged position as the sole and central audience of an unfolding perspectival world as it finds itself challenged by a plethora of post-human eyes. Emerging technologies of vision such as 3D laser scanning – regarded as less faulty, faster and more accurate than the human eye – find an ever more central role in production, analytics, control and decision making. “Orchestrating The Edge” deconstructs the supposed realism and forensic accuracy of the 3D laser scanner and reinvents it as a phantasmagoric device complicit in the creation of high-tech surrealist mirages. The project reverse engineers a phenomenon called edge noise – interpolated “ghost measurements” that appear in the 3D scanner’s point cloud when the laser beam hits an object’s edge and thus samples multiple objects within one scene. Incompatible with the reductionist logic of the unequivocal and weightless Cartesian point, these mixed measurements are usually elaborately filtered out of the point cloud. The project, on the contrary, embraces the multiplicity of this edge condition and devises so called Masks – screens that, through the high resolution of their encoded perforation, become “all edge”. The algorithmically controlled edge cloud that results when scanning these Masks inserts fictional geometries into the point cloud, injecting fractures of the imaginary into its “realist” representation of the city. <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/bcc760709c957cfefde2f081b4d96fa504e247a093aa5209f06afc78e946387d/TPEARCE_9.jpg" data-mid="23090190" border="0" src="https://freight.cargo.site/w/1000/i/bcc760709c957cfefde2f081b4d96fa504e247a093aa5209f06afc78e946387d/TPEARCE_9.jpg" /> <img width="2268" height="2265" width_o="2268" height_o="2265" data-src="https://freight.cargo.site/t/original/i/8b847da109262e7d2b2a55df7cce9179e6789e580d777d0b4bf0be32b593bc5d/TPEARCE_3.jpg" data-mid="23090167" border="0" src="https://freight.cargo.site/w/1000/i/8b847da109262e7d2b2a55df7cce9179e6789e580d777d0b4bf0be32b593bc5d/TPEARCE_3.jpg" /> <img width="1500" height="2258" width_o="1500" height_o="2258" data-src="https://freight.cargo.site/t/original/i/3eadbf253edd0e64a76f488044298c5dc369b56496cd8f6d5469e44b2a4a9048/TPEARCE_4.jpg" data-mid="23090170" border="0" src="https://freight.cargo.site/w/1000/i/3eadbf253edd0e64a76f488044298c5dc369b56496cd8f6d5469e44b2a4a9048/TPEARCE_4.jpg" /> <img width="2848" height="4288" width_o="2848" height_o="4288" data-src="https://freight.cargo.site/t/original/i/58e31a5517416c10db53d89145f306d5696992e8000ad39478d80af725d8a68e/TPEARCE_5.JPG" data-mid="23090178" border="0" src="https://freight.cargo.site/w/1000/i/58e31a5517416c10db53d89145f306d5696992e8000ad39478d80af725d8a68e/TPEARCE_5.JPG" /> <img width="2848" height="4288" width_o="2848" height_o="4288" data-src="https://freight.cargo.site/t/original/i/418f1b224b68be1cf2d707bb2b4e261f360c824219cff311934245a1e16fb9f9/TPEARCE_6.JPG" data-mid="23090182" border="0" src="https://freight.cargo.site/w/1000/i/418f1b224b68be1cf2d707bb2b4e261f360c824219cff311934245a1e16fb9f9/TPEARCE_6.JPG" /> <img width="2000" height="2628" width_o="2000" height_o="2628" data-src="https://freight.cargo.site/t/original/i/358db62810af48a128303447f9618fb59357cb75ef9a6bed57d3ebafef711420/TPEARCE_7.jpg" data-mid="23090184" border="0" src="https://freight.cargo.site/w/1000/i/358db62810af48a128303447f9618fb59357cb75ef9a6bed57d3ebafef711420/TPEARCE_7.jpg" /> <img width="2848" height="4288" width_o="2848" height_o="4288" data-src="https://freight.cargo.site/t/original/i/6788f6bd194514b29d0151d3213ac7c99f45567250220bed74bf74ffb1ef5835/TPEARCE_8.jpg" data-mid="23090189" border="0" src="https://freight.cargo.site/w/1000/i/6788f6bd194514b29d0151d3213ac7c99f45567250220bed74bf74ffb1ef5835/TPEARCE_8.jpg" /> <img width="2000" height="2501" width_o="2000" height_o="2501" data-src="https://freight.cargo.site/t/original/i/2f2b5a828345ab33de3c2df62dee2059e8d5b983c12d78ebef30152561259c4c/TPEARCE_2.jpg" data-mid="23090195" border="0" src="https://freight.cargo.site/w/1000/i/2f2b5a828345ab33de3c2df62dee2059e8d5b983c12d78ebef30152561259c4c/TPEARCE_2.jpg" /> https://thomaspearce.xyz/jakob-k-der-neue-mensch Tue, 28 Aug 2018 12:06:01 +0000 Thomas Pearce https://thomaspearce.xyz/jakob-k-der-neue-mensch Jakob K. Der Neue Mensch Set design, video work and artistic collaboration&nbsp; with Mara Kanthak and performers Heike Bröckerhoff, Moritz Frischkorn, Jonas Woltemate performed at Kampnagel, Hamburg, May 2017.&nbsp; Read an extensive article on this piece in the Journal for Artistic Research. <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/d2e11bdd02dbbb8fe5d93907a6f6de34c8a3bf1d4071a60ba8a2d2ef5404e218/AB_JAKOB-K.---DER-NEUE-MENSCH19535.jpg" data-mid="23101890" border="0" src="https://freight.cargo.site/w/1000/i/d2e11bdd02dbbb8fe5d93907a6f6de34c8a3bf1d4071a60ba8a2d2ef5404e218/AB_JAKOB-K.---DER-NEUE-MENSCH19535.jpg" /> “We have taken enough from history, now it is time to give it something in return!” Jakob Klenke "Any rule carries within it the eventual prospect of reduced liberty, but new rules can be surprisingly unruly, clearing away customs and habits that have stood in the way for ages” Robin Evans Jakob K. is a reconstruction project. It reconstructs a performance under the name of Der Neue Mensch, conceived in 1927 by gymnastics teacher and choreographer Jakob Klenke during his short activity at the Bauhaus in Dessau. Klenke’s movement practice has hitherto been underexposed in Bauhaus historiography. This partially stems from the fact that he has always found himself in the shadow of his friend and colleague Oskar Schlemmer, the master of the Bauhaus stage, but mainly from the fact that traces of his work are sparse and scattered. Klenke’s conception of dance as an embodied practice, in which nothing other than the body itself could be the archive, lead to his aversion of photographic, drawn or indeed any form of documentation and means that we are dependent on a limited number of secondary sources and circumstantial evidence. Three historical objects are reconstructed for the project: Klenke’s movement practice, its architectural framing and lastly Klenke the person. The project attempts to formulate strategies for the reconfiguration of the pieces of evidence available. This reconfiguration, a re-drawing of the base line for parallactic pieces of evidence, becomes the generative force of the reconstruction practice. <img width="4212" height="3167" width_o="4212" height_o="3167" data-src="https://freight.cargo.site/t/original/i/5b6a7eca32a61604e2a00104ce128d8e56e9287b9158b432b07951028331725c/1711-JAK-100-rev--.png" data-mid="23098786" border="0" src="https://freight.cargo.site/w/1000/i/5b6a7eca32a61604e2a00104ce128d8e56e9287b9158b432b07951028331725c/1711-JAK-100-rev--.png" /> movement: scripted re-enactment A re-performance of Klenke’s earlier piece from 1902 called Le Systemetook place in Hamburg in 2014. Le Systeme breaks down into 5 fragments of movement which are plotted onto a self-intersecting infinite loop – a figure Klenke was obsessed with throughout his life. How the mapping of these movement is structured, however, isn’t unequivocal. Towards the end of the piece, the re-performance disintegrates, escalating into a discussion about the very rules of the reconstruction. Negotiation replaces dance.In the decade after the first world war, Klenke’s fascination with abstract geometrical rules as a generative force for the creation of dance movement lead to a close friendship (and eventually rivalry) with Oskar Schlemmer, who in 1926 invited him to the Bauhaus as a teacher of gymnastic and movement studies, of Bewegungslehre. With Schlemmer, he shared the conviction that proliferating mechanisation shouldn’t be considered a treat to a so-called human, but rather should be taken as a chance, as a potential liberation of the body from its constraining habits. Moving as instructed by the rules of the machine, the dancer can transcend his/her inherited perceptions. »Do not complain about mechanisation, instead enjoy precision! Artist are willing to convert the drawbacks and perils of their mechanistic age into the silver lining of exact metaphysics.«If Schlemmer’s choreographies however were notated in a linear fashion, a clear sequence of movements to be executed with clockwork precision by his dancers, Klenke in turn became more and more absorbed by the idea that, although the input, the basic movements of his pieces need not vary, they have the possibility to get endlessly reconfigured and reshuffled. The rules governing these reconfigurations seem to be, amongst others, his idee fixe of the infinite loop, the space in which the practice took place, but also and increasingly broader ecological entanglements like environmental influences. Recent field work in Walter Gropius’ Prellerhaus at the Bauhaus in Dessau, in which Klenke lived and worked in a 20 square meter room, started with a site-specific re-performance of the previously reconstructed movements from le Systeme. These are later digitized, in order to achieve maximum reconfigurability. One important factor within this adaptable reconfiguration seemed to be the pattern of shadows cast by Gropius’ delicate steel frame windows – Klenke, according to one of his students, used to describe how he enjoyed the superimposition of these shadows’ reliability, tirelessly performing their notational duty, and the human movement, slowly mutating as repetition and exhaustion take their toll.Klenke devised increasingly complex systems for how to reconfigure and recombine the movements – until these movements, so he realised, eventual became impracticable. The performance of Klenke’s avatar, endlessly virtuosic in our digitally reconstruction, verges on the anatomically impossible, a self-penetrating human Klein bottle. This begs the question if Der Neue Mensch was in fact ever performed, by Klenke (who was 53 at the time) or by anyone at all; or if it had become a thought experiment, a theoretical project of which our re-performance is in fact the actual first performance. <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/c7de34d37727973342f38c39255b503295928009c53f5be3e415318a07e2a8a3/AB_JAKOB-K.---DER-NEUE-MENSCH18642.jpg" data-mid="23101494" border="0" src="https://freight.cargo.site/w/1000/i/c7de34d37727973342f38c39255b503295928009c53f5be3e415318a07e2a8a3/AB_JAKOB-K.---DER-NEUE-MENSCH18642.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/d97f1d542641747a84fb4c2b9b39ca1c872d5f92d6f466a895847969b7ad594b/AB_JAKOB-K.---DER-NEUE-MENSCH18710.jpg" data-mid="23101495" border="0" src="https://freight.cargo.site/w/1000/i/d97f1d542641747a84fb4c2b9b39ca1c872d5f92d6f466a895847969b7ad594b/AB_JAKOB-K.---DER-NEUE-MENSCH18710.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/c883c526c924f3586b605a282f58c9918962a3be390a080effcd1e3ae9401184/AB_JAKOB-K.---DER-NEUE-MENSCH18967.jpg" data-mid="23101496" border="0" src="https://freight.cargo.site/w/1000/i/c883c526c924f3586b605a282f58c9918962a3be390a080effcd1e3ae9401184/AB_JAKOB-K.---DER-NEUE-MENSCH18967.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/3138c410df27fa3213be7e133e3df978f842497026da44402683acc8bb34eab7/AB_JAKOB-K.---DER-NEUE-MENSCH18972.jpg" data-mid="23101499" border="0" src="https://freight.cargo.site/w/1000/i/3138c410df27fa3213be7e133e3df978f842497026da44402683acc8bb34eab7/AB_JAKOB-K.---DER-NEUE-MENSCH18972.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/df66b0f9688e22d07176b7ad6ecab5804341b631c3634d0879d8af0e05aaae12/AB_JAKOB-K.---DER-NEUE-MENSCH18977.jpg" data-mid="23101502" border="0" src="https://freight.cargo.site/w/1000/i/df66b0f9688e22d07176b7ad6ecab5804341b631c3634d0879d8af0e05aaae12/AB_JAKOB-K.---DER-NEUE-MENSCH18977.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/d9cb90a02f0fef3770fc1db76a1b2d2272fa313b7d5b44276efdbf573256e426/AB_JAKOB-K.---DER-NEUE-MENSCH18989.jpg" data-mid="23101506" border="0" src="https://freight.cargo.site/w/1000/i/d9cb90a02f0fef3770fc1db76a1b2d2272fa313b7d5b44276efdbf573256e426/AB_JAKOB-K.---DER-NEUE-MENSCH18989.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/e0bce93685c951edcefefdbd744f60b4bab7416e12741f7a55bbf019865ae907/AB_JAKOB-K.---DER-NEUE-MENSCH18998.jpg" data-mid="23101508" border="0" src="https://freight.cargo.site/w/1000/i/e0bce93685c951edcefefdbd744f60b4bab7416e12741f7a55bbf019865ae907/AB_JAKOB-K.---DER-NEUE-MENSCH18998.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/9091f52502bab8534c77dc189422a3e48384f3dc0dd0253b4c6c102c8d8cc67b/AB_JAKOB-K.---DER-NEUE-MENSCH19029.jpg" data-mid="23101510" border="0" src="https://freight.cargo.site/w/1000/i/9091f52502bab8534c77dc189422a3e48384f3dc0dd0253b4c6c102c8d8cc67b/AB_JAKOB-K.---DER-NEUE-MENSCH19029.jpg" /> <img width="4963" height="3509" width_o="4963" height_o="3509" data-src="https://freight.cargo.site/t/original/i/c0372bbc867c9b070905d731d03bff4d83675f7dc04efefd52f12cd4eca10c48/1711-JAK-300-rev--.png" data-mid="23099358" border="0" src="https://freight.cargo.site/w/1000/i/c0372bbc867c9b070905d731d03bff4d83675f7dc04efefd52f12cd4eca10c48/1711-JAK-300-rev--.png" /> <img width="4963" height="3509" width_o="4963" height_o="3509" data-src="https://freight.cargo.site/t/original/i/bb1d3b7e0fb0b331714573d9f40291823a8744b2925a4699b842f55369dcbe4f/1711-JAK-302-rev--.png" data-mid="23099360" border="0" src="https://freight.cargo.site/w/1000/i/bb1d3b7e0fb0b331714573d9f40291823a8744b2925a4699b842f55369dcbe4f/1711-JAK-302-rev--.png" /> <img width="4963" height="3509" width_o="4963" height_o="3509" data-src="https://freight.cargo.site/t/original/i/e8a4526fb08e404f197f389768c5d62bfcb7758c37a25b5f1f45b98ed85046e4/1711-JAK-301-rev--.png" data-mid="23099359" border="0" src="https://freight.cargo.site/w/1000/i/e8a4526fb08e404f197f389768c5d62bfcb7758c37a25b5f1f45b98ed85046e4/1711-JAK-301-rev--.png" /> <img width="4963" height="3509" width_o="4963" height_o="3509" data-src="https://freight.cargo.site/t/original/i/ce22c0848ce44da446e50a7efc758ac04ef9544bb3a1c9496b9a69bde08f6c54/1711-JAK-304-rev--.png" data-mid="23099362" border="0" src="https://freight.cargo.site/w/1000/i/ce22c0848ce44da446e50a7efc758ac04ef9544bb3a1c9496b9a69bde08f6c54/1711-JAK-304-rev--.png" /> <img width="4963" height="3509" width_o="4963" height_o="3509" data-src="https://freight.cargo.site/t/original/i/8c1ec97e42a95b8be30d88fc5965f8cb6c346112db3024eef4494d6a29cfb444/1711-JAK-305-rev--.png" data-mid="23099363" border="0" src="https://freight.cargo.site/w/1000/i/8c1ec97e42a95b8be30d88fc5965f8cb6c346112db3024eef4494d6a29cfb444/1711-JAK-305-rev--.png" /> <img width="4963" height="3509" width_o="4963" height_o="3509" data-src="https://freight.cargo.site/t/original/i/99304f0b2b25d8e03aa2f9a5974496139483d8390abd660f036f08131cba75c2/1711-JAK-303-rev--.png" data-mid="23099361" border="0" src="https://freight.cargo.site/w/1000/i/99304f0b2b25d8e03aa2f9a5974496139483d8390abd660f036f08131cba75c2/1711-JAK-303-rev--.png" /> space: blind forensics The above-mentioned field work in Dessau was also an opportunity to capture, with submillimetre forensic precision, the space and building in and for which Der Neue Mensch was conceived. The captured laser scans however, share a sense of partial blindness with the non-oriented photographs in photogrammetry – even if, unlike photogrammetry, directly capturing three-dimensional data. Like those photos, they are still relationally blind – that is to say, although they know where precisely everything is in relationship to themselves, they do not know their relationship to other scans. Before being registered to each other using common points as hinges, these scans are solipsistic and unhinged: they produce simultaneous, alternative and overlapping arrangements of identical architectural elements. The stage set, on which the piece will be performed this May in Hamburg, offers a playing field of spatial negotiation and alternative configurations in which each element appears in multiple orientations, materials and states of completion. Situated between exhibition, stage set and gymnastics studio, it is to become a forum for the discussion and testing of reconstruction strategies – for the very negotiation of evidence in which the previous re-construction of Le Systeme escalated. <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/d489824524426e87c400b9d16c98b89f48f9410e91a5ab87f1646b5194b38dcb/AB_JAKOB-K.---DER-NEUE-MENSCH19448.jpg" data-mid="23101511" border="0" src="https://freight.cargo.site/w/1000/i/d489824524426e87c400b9d16c98b89f48f9410e91a5ab87f1646b5194b38dcb/AB_JAKOB-K.---DER-NEUE-MENSCH19448.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/35fdbfd2689dcd2ba891b11b2eb8bd1f5eeedf0328a54486d3d41c16ca4c3b48/AB_JAKOB-K.---DER-NEUE-MENSCH19523.jpg" data-mid="23101513" border="0" src="https://freight.cargo.site/w/1000/i/35fdbfd2689dcd2ba891b11b2eb8bd1f5eeedf0328a54486d3d41c16ca4c3b48/AB_JAKOB-K.---DER-NEUE-MENSCH19523.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/d65b233c501257585704d00f179d4cbb2f045f75100ed78d2345311441d7dac3/AB_JAKOB-K.---DER-NEUE-MENSCH19556.jpg" data-mid="23101514" border="0" src="https://freight.cargo.site/w/1000/i/d65b233c501257585704d00f179d4cbb2f045f75100ed78d2345311441d7dac3/AB_JAKOB-K.---DER-NEUE-MENSCH19556.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/bec79eb048b8a21e068857441db5077ca366dbe013a0ff8f666cb1b04db7e878/AB_JAKOB-K.---DER-NEUE-MENSCH18513.jpg" data-mid="23101515" border="0" src="https://freight.cargo.site/w/1000/i/bec79eb048b8a21e068857441db5077ca366dbe013a0ff8f666cb1b04db7e878/AB_JAKOB-K.---DER-NEUE-MENSCH18513.jpg" /> <img width="1920" height="2880" width_o="1920" height_o="2880" data-src="https://freight.cargo.site/t/original/i/5928cb7f8e03eead7e1455f5c4b8194b621ce12effd3cf81177a9bf7429229ed/AB_JAKOB-K.---DER-NEUE-MENSCH18515.jpg" data-mid="23101516" border="0" src="https://freight.cargo.site/w/1000/i/5928cb7f8e03eead7e1455f5c4b8194b621ce12effd3cf81177a9bf7429229ed/AB_JAKOB-K.---DER-NEUE-MENSCH18515.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/c00cc8b796e2b796fb91d1c1d60043ce9f1e86e89f0eecc705729bda3b541916/AB_JAKOB-K.---DER-NEUE-MENSCH18529.jpg" data-mid="23101518" border="0" src="https://freight.cargo.site/w/1000/i/c00cc8b796e2b796fb91d1c1d60043ce9f1e86e89f0eecc705729bda3b541916/AB_JAKOB-K.---DER-NEUE-MENSCH18529.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/371dd364ee7d102082d9cbad60df7a6a033c2f693ec41d2579c852d899517ec3/AB_JAKOB-K.---DER-NEUE-MENSCH18618.jpg" data-mid="23101520" border="0" src="https://freight.cargo.site/w/1000/i/371dd364ee7d102082d9cbad60df7a6a033c2f693ec41d2579c852d899517ec3/AB_JAKOB-K.---DER-NEUE-MENSCH18618.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/ffd60f82071dde2dd53e82b57650257dfe29e5742571d826f3190ed2b8fe2f82/AB_JAKOB-K.---DER-NEUE-MENSCH19539.jpg" data-mid="23101888" border="0" src="https://freight.cargo.site/w/1000/i/ffd60f82071dde2dd53e82b57650257dfe29e5742571d826f3190ed2b8fe2f82/AB_JAKOB-K.---DER-NEUE-MENSCH19539.jpg" /> identity With every layer of reconstruction, and reconstruction of reconstruction, the fact that Jakob Klenke never historically existed seems to become of less interest. Like the Shinto shrines which have been ritually reconstructed every twenty years for countless centuries, the practice of reconstruction becomes more pertinent than the question of an alleged origin or original. Klenke is everyone who contributes to his re-invention and re-enactment. His or her identity is the fleeting sum of inputs. Hence Jakob’s resurrection is composed of photogrammetric data of the three performers’ features. Yet, as always, the rules of this composition – whether Jakob is a weighted average, a fluctuating interpolation, an overlay or a fractured hybrid – remains subject to negotiation. A negotiation in which and of which, the performance is made. &nbsp; <img width="1953" height="2653" width_o="1953" height_o="2653" data-src="https://freight.cargo.site/t/original/i/a85cbe7c8a0893fb58d7fbe779c57e46071dc7b0f270e400a67ed236f0ad61ba/180601_Antrag_Elbkulturfonds_JakobKSpekulativeRetrospektive-FINAL2-10.jpg" data-mid="28826401" border="0" src="https://freight.cargo.site/w/1000/i/a85cbe7c8a0893fb58d7fbe779c57e46071dc7b0f270e400a67ed236f0ad61ba/180601_Antrag_Elbkulturfonds_JakobKSpekulativeRetrospektive-FINAL2-10.jpg" /> Photography by Anja Beutler