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Zuzana Kovar Productive Leakages: Architecture in Abject(ion) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Zuzana Kovar (Doctor of Philosophy) School of Architecture and Design College of Design and Social Context RMIT University May 2014 I certify that except where due acknowledgement has been made, the work is that of the candidate alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Zuzana Kovar 28th of May 2014 Acknowledgements. There are many people and events that become intertwined in and that have an effect on the process of a PhD. Firstly I would like to acknowledge my supervisors, Dr Ross McLeod, Dr Juliette Peers and Dr Hélène Frichot for their suggestions and guidance, and who have been instrumental in the development of the PhD in various ways and at various times: Hélène through her direction of the PhD in its initial stages, through the sharing of her philosophical knowledge, and through our regular discussions until her departure from the university; Juliette through her insightful injections of knowledge at key times; and finally Ross, who began his role as a secondary supervisor, only to become my primary supervisor upon Hélène’s departure. He has been a constant in an otherwise long and complex path. I would also like to thank Juliette for agreeing to supervise the PhD at its mid-point, which would no doubt prove to be a challenging task. There are a great number of academic colleagues who I would like to thank: Esther Anatolitis, who sat in on a number of my panels and also dedicated her time to reading the thesis prior to submission; readers Cathy Smith and Sean Ryan; the long list of critics who provided insights at the various PRS presentations throughout the candidature: Suzie Attiwill, Karen Burns, Marion Campbell, Peter Downton, Pia Ednie-Brown, Bill Fox, Lyndal Jones, Stephen Loo, Julieanna Preston, Jane Rendell, Sean Ryan, Undine Sellbach, Chris Smith, Teresa Stoppani, Linda Marie Walker. Yasuhiro Santo for putting in place a teaching framework at the Queensland University of Technology that proved a fertile testing ground for aspects of the research, and to the students that participated in the studios. Paul Hotston and Kevin O’Brien for providing me with places to conduct my research within their architectural practices at the beginning of my candidature, and for their friendship generally. My partner and fellow practitioner Nick Skepper, who I studied the entire undergraduate architecture degree with, and who has also been there for the duration of this PhD. This PhD wouldn’t have been possible without his love, friendship and critical feedback. I am also thankful for the various apartments and houses that Nick and I have lived in during the length of this PhD, that have each through their own idiosyncrasies and states of decomposition proved endlessly stimulating. And our adopted greyhound Max, who made working from the home studio for the past few years bearable and provided distractions at critical times. Finally to my grandpa Stanislav Ort, whose broad and often unusual interests have always been an inspiration, and who did not live long enough to get to see the completion of this PhD. I dedicate this work to him. Contents Abstract 01 Introduction 03 PART 01 1. A Dualistic Paradigm 15 Cartesianism: ocularcentrism Phenomenology: the subject, the object The post-structuralist subject Contemporary: bio-technological paradigm Architectural bodies and chemical indiscernibilities 2. Abject(ion) 37 The abject and abjection Abject(ion) as women’s historical condition Writing on abject(ion), a field of connotations Informe Dust Weathering or spatial abject(ion) Abject constructions Process PART 02 3. Event 67 Event is not program Abject(ion) as program Abject(ion) as event Movement through space vs movement in place Temporality The deleuzean event The deleuzean assemblage and tschumian architecture Occurrent arts 4. Abject(ion) as Productive 85 Deleuze, Kristeva and excretory embodiment Physiological, psychological boundaries Architecture without Organs The logic of sensation or the spasmodic body Processes Assemblage Becoming, becoming-imperceptible Juxtaposition - tension 4.1 Proximity Fragments 103 Breillat: Anatomie de l’enfer Barney: Flayed bodies Bataille: The bullfight 5. Affect, Matter 123 Material disassemblies Spinoza Abject(ion), matter Sticky entanglements Architecture on the plan(e) of immanence WORKS 1. Ingesting Space 149 2. Bodyabject(ion)space: a collection of contracts 153 The wall cavity The sewing room The clinic Elron court 3. The Tea Room 173 4. Transfer Pillows 177 PART 03 6. Heterogeneous Bodies 191 Scaffold Body Spatial body Architect body Occupant body Architectural assemblage Bibliography 211 ‘we must distance ourselves, in order to be.’ – Victor Burgin on Julia Kristeva hence we must come in direct contact in order to become The thesis revolves around the concept of abjection, famously developed in the 1980s by philosopher Julia Kristeva. It is interested in abject(ion)’s ability to contribute to the way the architectural discipline thinks about bodies, spaces, and the relations within and between these. The interest in abject(ion) stems from the observation that when architecture deals with bodies and spaces, it still does so to a large degree from within a dualistic framework, where bodies and spaces are seen as opposites, as discrete entities, and further that when speaking about the relations between the two, a reliance on the phenomenological conception of the body as subject and space as object becomes evident. That is, the relations are described from the perspective of the subject, from the subject’s experience, and so they are understood subjectively rather than objectively. Whilst this thinking is of course useful to a certain degree, it is simultaneously restrictive, and has a clear limit point, as it does not allow one to consider the in-between and further to unravel the potential of the in-between. What the thesis attempts to do then through working with abject(ion), is map out a more volatile and open mode of thinking about bodies, spaces, and their relations. And for this, abject(ion) proves as the ideal candidate, given its ability to disrupt boundaries not only between inside and outside, but also between body and space, resulting in a moment of indiscernibility. Prior to being able to employ abject(ion) however, one has to extend Kristeva’s definition, as Kristeva uses abject(ion) only in the context of the body and also importantly, given her psychoanalytic background, she often slips into a dualism which ends up curtailing the full effect of abject(ion). On account of Kristeva’s slippage to a dualistic mode of thought, abject(ion) is in need of address in its own right: there is the necessity for a productive mobilisation. From this perspective the thesis draws on further philosophical work, predominantly that of Gilles Deleuze and Félix Guattari, whose mode of thinking flows through the length of the thesis and who move us away from individually expelling human and spatial bodies to assemblages. More immediately within architecture the thesis looks to the theoretical work of Bernard Tschumi, who through his discussion of events, and of an architecture constituted by spaces and events, provides the initial possibility for exploring the process nature of abject(ion). Through these writings, we develop an understanding of abject(ion) as an event that constitutes architecture, and it is at this point that abject(ion) manifests a series of potentialities, that it climaxes in excess and leads to affect. To borrow (and extend) a quote from Susan Sontag, here abject(ion) becomes “something much more profound than the backwash of a sick society’s aversion to the body.”1 1 Susan Sontag’s quote above is not about abject(ion), but the same could be said for abject(ion), which is why I employ it here. Sontag’s quote is a comment on the work of the Marquis de Sade, the Comte de Lautréamont, Georges Bataille and Pauline Réage. In full it reads: “Their work suggests that the “obscene” is a primal notion of human consciousness, something much more profound than the backwash of a sick society’s aversion to the body.” Susan Sontag, "The Pornographic Imagination," in Styles of Radical Will (New York: Farrar, Straus and Giroux, 1969), 57. 1 Productive Leakages: Architecture in Abject(ion) Examining the concrete floor, you see greys, blacks, yellows, smudges of white and reddy-orange stains, holes at 15-centimetre intervals, dirt at the peripheries, cracks and construction joints. To this you contributed splotches of white when you painted two of the walls. Your gaze shifts to the nogging of an unpainted wall on the right, where a draft is rocking a dead fly suspended on a strand of hair backwards and forwards. Atop the nogging, and in the groove of each chamferboard cladding the wall to the outside, films of dust lay seemingly still. Yet when the afternoon sun shines through the rusted shut bay of louvers, it reveals millions of particles in flight. These particles, like many others that have momentarily come to rest on the numerous horizontal surfaces of this studio space: books, tables, windowsills, stir incessantly at your every move, passing through and around you. Since moving down here, you have voluntarily subjected yourself to the volatile field of matter that is the studio. There is a persistence to this matter. Each morning before you begin work, tables must be swept clean and pages of current work shaken out.
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