Next Project

MiES

Part 2 Project 2008
Heidi Lee
 University of Greenwich | UK
A man wearing a Knize suit is dissected by an obsessed stalker, the body parts are installed inside the core of Edith’s house.

The Fox River floods and the plywood core separates from the house where upon it drifts to a distant silent land.

It is, now, more tea trolley than core; infused with dark obsessions and, swallowing the estuary soils of the Thames, it grows a flock of chimneys.

Wearing its moving scaled veneers on its sleeve it becomes a function of itself. A set of spaces appears, from the personalities of the body parts within.

Puffs of Montecristo smoke arise between the articulations of Duke Ellington, conducting the movements. Your senses bounce on the delicate rhythms, and are tickled by the fragmented connections.

Here, apart from your own desires and needs, the building(s) will also claim its own rights to its desires and thoughts, having a life of its own; cunningly consuming.

It is constantly searching for its desired characters of its plots, just as you are looking for your authors stories and scenarios from the building.

With the key on the right and cigar on the left You may not be able to negotiate and gain access and experience all, as you are traveling, indeed you may not even hear the squeaking sounds of the rail tracks in reversed journey.

But what you have taken away in your pocket is your own definition and the use of a space in your own Hoo dictionary, toyed by a child.


A deconstruction of the conditions and physicality of Mies’s Farnsworth House was the starting point. The core was coverted to tea trolley containing Mies's body parts.
This developed into a machine for Mies's reflected story it was brought to the south side of the Thames Gateway, the isolated Peninsula where the Thames and Medway meet, a(Thames)Gateway Game. A place to discover landscape materiality, where Queen Victoria would leave her train for her liner, traveling off around her empire from this point – now it is a place for power stations and other factories. Here Mies is catalogued. Modernism is dead, long live modernism; a building is proposed that can now claim its own rights to desires and needs. This building has a life of its own, constantly searching for the characters of its plots with the viewer, Walter Benjamin and Lacan in tow. They and you can can search for stories and scenarios. This building on the Hoo Peninsula is a highly experiential place where the student's febrile imagination and remarkable invention leads one from the shower curtain of Mies’s house, to the mud of Hoo. Mies dismembered and re-catalogued. The project needs to be fully unwrapped so the game can be fully enjoyed: through the key hole; up the smoking ramp, body squeezed and space controlled, amid the squeaking sounds of the rail tracks; a journey in reverse. The box should be opened for the full sensory experience. The way in, the key mechanism is revealed, a microscopic masterpiece, Mies's door handle is check-mated.
2008
A man in Knize tailor-made suit observes over the prefabricated core of Hoo, the gateway games begin.
Dissected by his obsessed stalker, the blood, infused with Martini, dripped, dropped. The various body parts are carefully installed inside the core once stood in the centre of the house. Through time, the darkness of obsessions within swallowed.
The Fox River floods and the plywood core separates from the house where upon it drifts to a distant silent land. Wearing its veneers on its sleeve it becomes a function of itself. It takes use of Grain and soil grows a flock of chimneys out of the ground
There exist no slender shadow, nor translations of languages or lawsuits, but the Alfi with mask (you) will unlock the fragments of the split personalities within this core through the use of your own senses and dimensions. It is a wordless dialogue.
(elevation 2 & opened section beneath.) Everyone in here has made their own journey and story, creating to themselves as main characters of the plot their scenes & scenarios, as the library, the playground, the spa...
the tea house, or the factory...(elevation 3 & opened section beneath). Consecutively the building is manufacturing the characters and personalities essentially require for this stage.
Tardily retreating downwards the small dark channel. Eventual arrival into a vast space Filled with information. This interior composed of moving sections, The precise & acute cuttings expose the guiding contents within
The Smoker: Puffs of Montecristo smoke arises from the chimneys according to the echoing rhythms of Duke Ellington's Jazz orchestra. Articulations of sounds and smells conduct the movements of the bodies, becoming the connections between the fragments.
Washed away your identities from the journey, sliding down like a penguin to the tailor's space...(legato): Psychological & physical Body dimensions govern your routes - outwards or onwards.
Pass the measuring tiny hydraulic steps like a sewing machine (staccato), it consumes the body as the steps are measured.
Tea at the Time Keeper: morning, noon, evening. Glass is blown carefully into the frames, the ticking bodies are the clock hands, while the archivist (alchemist) oversees the mechanisms.
1:1 table top of the archivist residing at the Time Keeper - the Glutton factory funnel is prepared, trilling through the turkey stock flooring to pre-stuff the turkeys for Christmas.
On arrival to Port Victoria accompanied by the reversed sceneries the creaking sounds of the forgotten railway tracks can/not be heard - A man who soliloquise poems delivers the production line.
This building is slightly cunning. You may not be able to negotiate and gain access and experience all, as you (and the building) are travelling from your desired plots.
Turn the key, and enter. Curiosities steer the visitor forward. 1:200, 1:1
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