None More Black

Hatch: On the State of Quick Images, Spring 2015

So, what you heard were my smart friends basically saying, “But seriously, are you talking about a new project of autonomy? And, if so, in what terms and how do you deal with context which is there, like it or not?” So, what I was fighting for in the review, and what we’re all fighting for in the studio right now, is the idea that over the last ten years, mass media has begun a campaign to make architecture provincial. We always hear about context, as if architecture could be drawn forth from it. I will tell you, it cannot. So in studio we are turning the volume up to eleven to see how we could be contextual but in a radically different way, by being so self-reflexive that the building literally creates a new world and then begins to influence and remake its context. That is why we are using the “light studio” I mentioned earlier—the light studio is of this earth but also not of this earth. It is real but it has no determinate scale. The effects it produces might range from something like a toy to something like a black hole. This interest is related to Timothy Morton’s hyperobjects, or rethinking the world in terms of things which are massively distributed and disassociated with anthropocentric notions of scale.

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