On one level, the 15 images can be interpreted as having the common denominator of illustrating dilapidation, which binds them together as a 'set'. However, on another deeper level, these are voices of collective memories, which are often fragmented and discordant.[1] Recognising this, photographs as a vehicle of representing memory, may take on a variety of meaning and associations even if they capture similar spaces, objects and/or people. Thus, the concept is to treat my 15 photos as a landscape of memories, linked and compressed by a series of abstract movements and objects as a metaphor for the conjured nature of 'memory-scapes'. This will ultimately bind them together as a "set" of images. Such treatment has been inspired by the notion of “hypertext”; defined by Jennifer Bloomer as a “reproduc[tion of] the workings of the mind… The sense of fragmentation is compensated by the connectivity – the possibility of establishing multiple links between different spaces.”[2] This is essentially an experiment with digital media and technology that introduces Ali Rahim’s notion of “systemic delay”[3] in the architectural design process of heritage intervention. The animation can be read as a diagram that addresses connections (and disjunctions) of memories which leads to the generation of a material form.
[1] Daniel Abramson, “Make history, not memory”, in Harvard Design Magazine (Fall 1999).
[2] Jennifer Bloomer, “Hypertextural Picturesque”, Games of Architecture, Architectural Design, no.121 (1996): 44.
[3] Ali Rahim, “Systemic Delay: Breaking the Mold”, Architectural Design 70, No. 3, (2000): 6-8.
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