Glide: design, indeterminacy and the specificity of the contingent
The occupation of such moments is critical, how to move from one purpose to the next, to move between purpose, without disturbing the glide from one place to another, to have a good hull.
Architecture passed through the end of the last century, leaving behind it a splash of empty isms, and entered this one in a glide. Our digitally enhanced and technologically advanced cultures suspended. Not frozen but caught in a trajectory, a propelling forward, a movement beyond some edge. We’ve entered a new space, one that is not yet a place that we recognise. How is it possible to design as gliders of our indeterminate condition?
In the second year of this century the architectural practice Terroir completed their first significant commission Peppermint Bay, a restaurant project set in a stunning estuarine landscape on the south eastern cost of the Australian island Tasmania that hangs on the extreme southern edge of the globe. This year, the practice completed a paper maker’s gallery on the northern coastline of the same island in a town called Burnie. In between these two projects the three practice directors – Gerard Reinmuth, Scott Balmforth and Richard Blythe – undertook practice-based design research higher degrees that drove key developments in the way these designers grappled with their practice.
This paper will chart the design journey from one project to the other exploring how a new practice discovered a way of working as gliders of our digitally enhanced globally challenged condition.
architecture contingency rmit terroir creative practice design research ethics indeterminacy poetics applied fine performing arts issue 0 jar - journal for artistic research
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