research log: unpacking process

must use this programme:

to show preproduction, production, postproduction steps.

jarkko has offered to let me use his schema for fine art printing


diary: the last of the lot has paid

After much waiting and despair, this just in:

Dear marc

It´s signed and on it’s way.

Sorry for the more than delay.

Your photos are beautiful and we are very happy for your work.

I’m forwarding the site of the still not announced, and confidential, project so you can follow it from the beginning.

It doesn’t look like the images at all know and the volumes are placed in another way but it gives an idea of the scope.

And I thought you might find it interesting to see how it deveopl. I will send

The latest draught next week.

Best regards m

research log: a new connection

Dear Marc,

It is quite a coincidence  that atmosphere is a focus of your research. It is also the key question embedded in my research, teaching and practice. Actually, here at the  Aarhus School of Architecture I led a unit called AL! Atmospheric laboratory– and one of the subjects I focus on,  is the way how to transmit/transport an atmosphere… (– here you can see what we are working on). Thus, as you can imagine… we have something to talk about. It is a pity, since just one week ago we had an interesting interdisciplinary seminar on Researching Atmosphere here- with the participation of Pallasmaa, Thibaud and Hasse. Anyway, feel free to contact me if you come to Aarhus! (see my mobile phone below)


research log: resistance

resistance (n.) Look up resistance at Dictionary.comearly 15c., from French résistance, earlier resistence, from Late Latin resistentia, from Latin resistentem (nominative resistens), present participle of resistere (see resist). Meaning “organized covert opposition to an occupying or ruling power” is from 1939. Electromagnetic sense is from 1860.

friction (n.) Look up friction at Dictionary.com1560s, “a chafing, rubbing,” from Middle French friction (16c.) and directly from Latin frictionem (nominative frictio) “a rubbing, rubbing down,” noun of action from past participle stem of fricare “to rub,” of uncertain origin. Sense of “resistance to motion” is from 1722; figurative sense of “disagreement, clash” first recorded 1761. Related: Frictional.

antithesis (n.) Look up antithesis at Dictionary.com1520s, from Late Latin antithesis, from Greek antithesis “opposition, resistance,” literally “a placing against,” also a term in logic and rhetoric, noun of action from antitithenai “to set against, oppose,” a term in logic, fromanti- “against” (see anti-) + tithenai “to place,” from PIE root *dhe- “to put, to do” (see factitious).

All of these scrape the surface, but together they hit the mark.  Resistance is needed, as without it you float off, like the man Avicenna postulated, and with too much of it you get stifled.  Where then to place a limit.  Again the idea of a contest of forces, as with the dialectic, is helpful.

An interesting parallel arises between academic standards and commercial conventions.  Each provides a space of resistance.  You cannot write a thesis however you like, if you want it to be accepted, nor can you hope to sell any photos you please to a commissioning architect.  Less obvious is the position of the institution which must resist the assailing student or artist yet not miss out wholly on the innovations they might have in their little heads and hearts.

It is corrupt for the resistance to subside – as in the current state of affairs.  If both sides agree on what must be done and each pleases the other, there is no resistance so no development.  You cannot add to knowledge by ticking boxes.  You cannot therefore completely know what you will discover (inductive (scientific) method) or have no advertised goals in mind as metrics would become relativistic and hence meaningless.

Isn’t all theory grounded if it has anything honest to say?




i should point out that i have not added many entries to this, my research log/journal/diary, lately as i have been busy with the following:

  • the 3rd draught of the JAR article, as they have agreed to publish it and have sent me the peer reviewer’s feedback
  • the extraordinary long, difficult and draining flog that the second article, doing content analysis (and I believe also grounded theory as i may have some default assumptions but no real hypothesis until the data comes in…seeing this vast body of work as functioned to clean the slate)
  • commissions for Helin and resubmission to AOA (who in the end commissioned a disappointing amount of images)
  • proposals for possibly fictitious commissions in Saudia Arabia and London
  • submissions to Arcaid with whom I have signed a contract, which I am not too sure about
  • travel to UK and France
  • insomnia

i have also been painting a lot more as of late, using it as an imaginative way to re-envision what i do.  i am painting from sketches of buildings done in granada and from memory

in theory in may i will do a week or two of participant observation and documentary photography at jkmm

i really must start shooting again, particularly the black white grey minimalist ideas, the stripes, the empty full, and the questions about design:

  • – how are the atmos on each side of the building different, as well as inside and out and on different floors
  • – what is it like empty versus really full
  • – what do people flows vs static people look like filling the space
  • – night with lights on and off
  • – mixtures of interior exterior light, business, etc not visible with the naked eye
  • – find problems with the design, environment, meeting points of each that can best be explained with photo
  • – consider image vs / plus textual arguments

as always, much to be done.  too much.

log: another source of inspiration

it might be useful to shoot portraits of architects.  something narrative, involving fanciful storytelling, but also revealing.  like this

log: photography as design

“I’m not modest about myself. I know for a fact that I am good. But good in the sense that I can put things together. I expound vociferously to students of architecture and photography, the significance of design. A photograph is a design in which you assemble thoughts in your mind”

Julius Shulman.