INTRODUCTION “INTRODUCING MARCEL DUCHAMP: How does an architect write about an artist? In May 1997 an innovative visual esay, part of a series ‘entitled Design-Contelation, was published in the American monthly magazine Architeteral Record” ‘The essay by the AustrianAmerican architect Frederick Kiesler was a close analysis of a seminal work by French artist Marcel Duchamp entitled ‘The Bride Stripped Bare by Her Bachelors, Even (La ‘marige mise & nu parses edlibataies, méme),1915- 23° Composed on rwo Tange glass panes arranged vertically on @ frame and using materials auch as load fell fuse wire, and dust, the work is better ‘known as the Large Glass. t combines meticalousy plotted drawings in perspective, as well as forms deriving from chance operations and is companied by a set of notes that allude to an allegorical amorous exchenge between ‘Bride’ and her ‘Bachelors. 13)" Kiesler's essay is possitly the frst invodvetion, of Duchemp's complex work to an architecture suudiences In later to Kiesler, champs reaction ‘was jubilant: How you have surged me aa get laze oe your rele nthe 5 erst ofthe Athi ese ‘uly he to bal then yur nerpeon adhe ‘vy yu gste your de Thal you for being ezered ic Tooth gle yah aachatrsin adr lib pine the sen paola know abou Although he always welcomed interpretations of is work hy others, Duchamp ie particularly taken by the esprit (lively intelligence wit) of Kiesler’ essay, his original interpretation and innovative visual presentation. But what weve the points that Kiesler vas able to clarify that 30 few people know about, and how washe able to do 20? Disappointed with previous phatagrephie representations of the Large Glass, which show the work intsct belore ite infamous accidental shattering in Kiesler commissions’ ‘American photographer Berenice Abbott to take ew photographs after Duchamp’s ‘restoration! jn 1996 Abbotts photographs depict the Large Glaze from the front, but lao at an angle and from the back and reveal ite visceral text sent from earlier photographs. Althaugh these images sre the focal point of the essay, Kiesler dose not present them conventionally, but euts, collages and Juntaposes them with images depicting traditional stained glass constuction dete, a photogram of e lea, and Xray images af « bot and mouse By resenting the photographs this way and employing ‘ypography and drawing Kiesle's primary mode of interpreting the Large Glase ie pictorial? In hie photographic justapositions the jagged strokes of the cracks on the Large Glace jon with the lines of the radiographs and the seams of the stained wing of class patterns to form an original (fe) Duchamp's artwork (ig. 12). Appeating at the margins end separsted by lines, the text compliments the images in the form of extended captions. In awe of Duchamp’: work, Kiesler calls the Large Glass a ‘masterpiece of the frst quarter of twentiethcentury painting but his primary aim isto establish it signifeance as architecture: ‘Architecture ie control of space. An Eaeelpainting ie lucien of Space Reality Duchamp's Glass ie the first ray painting of space’ and later the Lange Glass ‘is architecture sculpture, ‘and painting in ONES Focusing primarily onMARCEL DUCHAMP AND THE ARCHITECTURE OF DESIRE fon wanslucent glass testing on bullet-proof class; a woman looking through a circular hole in transparent plastic; and cinactly below a group of five men in suits standing on sheets of glas to test ‘heir resistance, Deriving from unrelated sources ‘and simed ot dry architectural audience, the collage portrays visual themes strongly associated ‘with the Large Glass: framing and drawing on class, shooting and breskage of panes of glass, tnd « ‘Bride’ figure above with ‘Bachelor’ below Unexpectedly and perhaps unintentionally, the last page is another faithful ‘erchitectural’ porteeyal of Duchamp's work Duchamp’ genuine pleasure with the essay pointetoan approval ofKiele'sreading ofthe Large lose as an architectural construction, Seeking te produce a work that is ‘not of an’, Duchamp ‘might have weleomed Kiesler’ review of the Large Glaze a8 a wor ‘of architecture instead” Widely overlooked, Duchamp’ interest in etchitecnare exist not only inhi constuction ofthe blueprint of esi underpinning the Large less, bt also in his many artworks replicating architectural fragments such a8 doors, windows and mantelpieces, aswell as his groundbreaking, unconventional exhibition designs. So the wi orginal interpretation and satisying visull presentation that Duchamp appreciated in the essay might be connected with Kieslesapproschtothe Large Gloseas architecture 1 argue that Kieler’s architectural interpretation was sbe t grasp a novel dimension ofthe Lage Glass, which genuinely surprised and delighted Duchannp. Tm an unpublished dissenation, “Catiquing Absolution: Mareel Duchamp's tant donnée and the Paychology of Pereption, American echolar Linda Landis points out «striking deteil that distinguishes Kiesle’s analysis from peshaps every ther interpretation-his completefailure tomention the Bride and the Bachelows® Kiesler addresses thie comission in his ersay Welskatitnct terete bie plate expzion the ppeball theless rst mechanic pa uch yo and pyc be rd fou here sd thas no and lase-br {bra tthe technicians of _Begrocalnton he acing oft eciqu™ Kisler chooses not to address the subtest of the amorous exchange between the Bride and the Bschelore and presents instead an semnative allegory ‘Tocremesuchn Kew ating of epce stern fi] and ei one neds a = len ()oncal, wall fcued and ase off (Re sean a cata casi 6) & supeconscioumes a senso od the ach of he tiny ttn these Describing the creative act as & photographic camera, Kiesler infers thet the image on the Large Glass is a snapshot ofthe ereative mind in faction. Duchamp also insinvates this allegorical Interpretation ~ albeit couched in poetic and cryptic language ~ in his notes far the Large Glaze, to which Kiesler did net have access prior ta composing his essay!” At a further allegorical level, Kiesle’s terminology clearly slludes to the id, ego and superego, the three elements of Sigmund Freud’s structural model ofthe payche” So in Kiesler analysis ofthe Large Glase the eg in's Lens (@) oneself, well focused and dusted offthe id is'() the subconscious as camera obscuite’ and the superego is (@) & super-consciousness as sensitizer’ Blending the allegory of photographic processes with psychoanalytic theory, Kies proposes Duchamp's work a2 an ‘architecture of desire. I suggest that when Duchamp declares tn his jubilane lener that Kiesler clarifies ‘paints that s0 few people know about’ he refers to this particular passage”™ Related tothe Large Glass and its photographic camera imagery, this description is also a Biting narrative for the viewer’ experience in front of Duchamp's other major piece, Bane donnée: 1° la chute deau, 2° le gaz d'élairage . (Given 3. The Waverfall 2. The Illuminating Gas -), 1946-88, ot Given 23). ‘Closely connected with the themes goveraing the Large Glass, Given is a three-dimensional assemblage, a diorama permanently intalled in a room at the Philadelphia Museum af Ar. Hidden behind a wooden door and portraying # brightly lit end explicily pornographic scene, the diorama is visually accessed through two peepholes. In the ‘experience of Given, the eyes of the viewer are the lens(es) ‘well focused and dusted off fixing the image and making it lear the door and the sight beyond forms an inverted ‘camare obscura ‘making plcures of light in the subconecinos; fand the intellect, lke the ‘super eonsciousness is where che image willbe imprinted in memory. ‘The switch turning the bright light on in the diorama ie triggered automaticlly when the visitor centers the galls buinging together the trnisy of the door, eyes and intellect ~ ori eg and superego ~tocreate ‘an Xray painting of space, maerie [sie} and peychie™ Kiecler's anelysis of the Large Glass in 2997 uncannily anticipates the anival of Given neatly ten years before Duchamp began work on the sssemblage in 1946° Not only was Kiesler seemingly able t© read Duchamp’s mind afer Just studying the Large Glass visually, but he also predicted the essence of a closely linked, later work that would preoeeupy Duchamp for twenty years, only completed long after the two friends Inexplicably cutoff contact with one another Ing shor paper he presented atthe Convention, cf the American Federation of Arts in Houston in 1957 entitled "The Creative Act, Duchamp hae described the artistas ‘a mediumistic being who, from the labyrinth beyond time and space, sels hie ‘way out to a clearing: He asserts that the erestive fact is not performed by the artist alone’ and thet the spectator adds contsibution through ‘the As a spectator, and critic, Kiesler does not simply study the Large Glass from a distance, but he architecturally phenomenon of transmutation’ redesigns it Although one could argue that there is evidence of clear affinity between Kiesler and Duchamp’s pattems of thinking I believe ther Kiesler's act of redrawing the architecture of the Large Glass, and entering the process of recreating It leads toa profound comprehension ofits ayntas ‘The ‘architectural’ reading allows the ‘architectoral’ ‘meaning to emerge. Consequently, Kiesler not only ‘dds his contribution to the creative act through the ‘phenomenon of transmutation’ as 8 spectator, but in addition, by using design be is able to take con the tole of the creator, the imediumiatic being’ Critical analysis through axchiteccurl redawing cf the original work becomes performed empathy. Kiesler's empathetic engagement with the LargeGlass offers insights that expand its themes of allegory, visuality and desire in ways that the original author was possibly not yet aware a ‘Marcel Duchampandthe Architecture of Desire is my ‘architectural’ analysis of Duchamp's idess and work, focusing on an in-depth investigation of Given, which similerly to Kiesler, uses drawing extensively as a research methodalogy. The book is structured around the themes of desire, allegory and visualty, which for Duchamp are interchangeable the allegory ofthe mise en scene in his two major works can be interpreted both 4s the staging of an unfulfilled eretic desire and the exploration of an expanded visuality, Equelly, desire is not just related to eroticism but can refer 10-2 search for a missing dimension in vision or the elusive meaning in allegory. Using drawings and models slongside textual snalysis to study hus work, Marcel Duchamp and the Architecture of Deciye attempts to define and endorse a practice positioned between art and architecture burt also bbotwaen theory and making ~ that predates and includes Duchamp (614). As we have seen, evidence of Duchamps Interest in architecture exists in his work. Yet the architecture that hie work assimilates is not only found in the normative architectural profession. As | will show in this book, Duchamp was fascinated by the ‘architecture of desire. reconstructing the Imagination through drewing and testing the boundaries between reality and its aesthetic and philosophical possibilities, Sine Kinalv’sintecution in the Amiternumd Record, other architects, architectural historians and ‘entcs have found connections berween Ducharnps work and architecture For instance, the Brith architec, critic and histori Kenneth Frampton compares the Large Glass to the Matson de Vere ezigned by French ecitet Pere Chere in 1928- 2 whl aehitecua hisorans Albero Péren smer and Louise Peltier include the Large Glaze in their analysis ofthe history of archtetural representation = French achitect Berard Techumi defines bot the Lasge Glass andl Given as sichiverues of peste vile Diller + Sco, similar wo Kieder, cially redesign che Large Glas this tine op stage oe for A Delay in Glos, oF The Rotary Netory and His Hoe ‘loa s thee ply commissioned bythe Philadelphia yeeum ef At forthe Duchamp Centennial in 187 ‘While previous architecture analyses by atchitens are forthe most pat brief references to the Large Glass, my primary focus is Given. whi T see as dlrelly inked tothe Large Glass, pathepa asa second sendton ofthe san programme found nis notes, In Moree! Duchamp and the Arhteture of Dest {perform a mticulous and systematic dissection of Duchampis nl enigmatic assemblage Inspired by Kiesler and others, such as Swedish arene and writer Uf Linde and Britsh antst Richard Hamilton, who have engaged with Duchamp work theough making. drawing and reconstruction, my analysis is agely underpinned by proctioeled experimentation I empley architectural design ~ speculative drawing and rodelmaking as well as photography, collage, digital animation and flim ~ a2 aa investigative tool The chaptersin this book ae interwoven with Aetaled presentations of my probing architectural iojrta, pinpaning » remanch methodology deriving fiom architectural design principle, able to reach new interpretations of Duchamp's work. (ig. 18). Conversely. I also recognize anRCHITECTURE OF DE: MARCEL DUCHAMP AND THE analical, often philosophical and scientific - if 12 ARCHITECTURE OF DESIRE amps Ds \do-eientiic~ inclination in Di amp often uses the term ‘erotisiem’ which anistic practice, and propose his example a2 a aa French linguist and art historian Mare Décimo viable paradigm of research methodslogy in admits is ‘3 that Duchamp never aichitecture and other visual practies. Finally, defined: Inhis introduction tothe edi clogy I identify Duchamp's architectural influences Marcel Duc es land race his legacy in architectural design Dushamps undefined eroticism is, . arch. Although deriving fom an ‘dynamic thought thar adapts and creates’ or itcctural design perspective, his analysis is the very instant when the “lick” takes place, the chitectural design endazvous, the moment when our visio solely intended for an insights that add and approaches what is thersMARCEL DUCHAMP AND THE ARCHITECTURE OF DESIRE Dacha wok pore a appt fous on the infield fneioniag of thobght ons hyllgy, wich cons in appeciting uh the interation of he eye, wet Uae bo he seen of mamary sel pu ond sing lle wth derby the eh more anil she el aminsted by he section of vl tah fcly weak he noble o ok American art historian Craig Adcock admits that Duchamp's use of eroticism and doubleentendres has added to the notoriety of his works end their impact on twentieth-century art In bis interviews with French art ertic Pierre Cabanne, Duchamp clten states the importance of erticiam: everyone ‘understands it without speaking of it which mesns that itispossibleto adéress issues through eroticism ‘that often remain hidden ® However, in‘Duchamp’s Erotieiam: A Mathematical Analysis’ Adcock poignantly observes. that Duchamp’s eroticism can be linked with his interest in dass concerning four-dimensional geometry and move specifically the work of mathemetician Esprit Pascal Joutret. He compares the new geometrical principles inchuding the notions of reversal and expansion, with examples of Duchamp's works, for instance hrs gender reversals in Rrote Selayy and LHO.OQ, the topological rotations of his ‘eadymades’ and ‘what he calle his ‘geometrical’ mides in the Large Glass and Given® Adcock argues that beyond its rale in seducing the viewer, eroticism informed by mathematics end geometry becomes # method for philesophical and eeientific pursuit. He concludes: “he ecm — i Bf and then ents and then rises Dusan bare cogs ar iaermetind with ther sya of shh oth thomas ed cisteco nthe eee they ae pre In ‘Surreal House’, 2010, an exhibition bringing together a election of works from art end architecture under the theme of Surrealism, two ‘works by Duchamp featured as an introduction at Lhe gallery entrance, marking his infuence on the exhibition theme: the link berween architecture and desire. In her introductory text to the exhibition catalogue, curator Jane Alison points out: ‘We can say with some certainty ~ thet erciclam and architecture were the mainstays of Duchamp’s decidedly non-rtinal practice However ercticism jin Duchampls work is also connected with an architecture of looking and both the Large Glass and Gren are ‘Bachelor’ machines for looking at the coveted image of an unattainable ‘Bride Duchamp arranges the constituent parts of these optical mechines to form complex: spatial ‘constructs, Moreover, he uses architecturl drawing conventions to describe the lower part of the Lerge Gloss plotting the Bachelors’ domain from 3 plan land a section ~ and directly using architectural ‘eleenents =the door and wallin Given, In his aiticle entitled “Architecture and ts Double far the special Azoitecrural Design issue on ‘Surrealism and Architecture’ assembled by Caach architectural theorist Dalibor Vesaly in 178, French architect Bernatd Techumi discusses Duchamp’s Given as ‘space of deste! He observes Duchamp's “antietinal’ choice of ‘mechanical drawing’ forthe Large Gloss, while he seas Given as the culmination of Duchamp's fescination with erotic machines, Describing the relationship of the viewer with Ducham’s new assemblage, he refers to a space‘of tension, of empathy of desire. For Tachumi the ‘implicit, llegorial erotic content in the Large Glass becomes explicit in Gtven, but atthe sume time the nude figure is just a signifi of any erotie exchange between abject and viewer, or even barween idea and objec. In Bul upon Love: Architectural Longing alter Ethies and Aesthetics, 2008, Alberto Pétez Gomez uncovers the relationship between love sand architecture, He Svielas le inte ers eating to erotic desire, seduction end poeties and philic, telating to friendship and ethics, Speeking of his Polyphilo or The Dack Foreet Revisited, 1992, he 0 asserts that to the primary malty of embodied consciousness, architecture speaks in the medium of the erotic, a3 poetic image’ Discussing Duchammp’s Given as part of the arebitectural patio image in modemity, alongside work by architects Jean-Jacques Lequeu and Kiesler, he suggests that the spaze between the observer and the nude “is tense and unbridgeable and yet patticipation“® In the Large Glass and Given, the space of participation i activated through cvs ‘Thus the term ‘architectore of desie’ in the tide tefers to Given the primary focus and subject matter of this book, which, in harmony with the Itisa space ofMARCEL DUCHAMP AND THE ARCHITECTURE OF DESIRE views presented above, I too perceive as a spsce pointing to the erotic potential in architecture. As ‘we alec, there is evidence thatthe model for the nude figure in Given was Duchamp’ lover Bsailian sculptrese Maria Mastns, Given therefore, is literally the structure Duchamp designed and physically constnicted te house Martin's coveted image on the verge of losing her: the architecture of his desire 121 DRAWING Beyond simply signifying Given, however, by using the term ‘architecture of desire’ I also refer to architecture's relationship to drawing, Drawing in architecture i in anticipation of the thing it deserbes: the conetruction of the building. This missing object is often agen as a source af desire Jn design. I suggest, however, that desire exists in architectural drawing beyond the anticipation of the physical presence of the bullding. Training in architectural design promotes the development of a sophisticated spatial imagination capable of _grssping complex three-dimensional configurations intellectusly. The conaummetion of this intense imagination, hawever, is disproportionate. Unlike far, where the drawing is single. and an at object in ineelf-therefore,offeringthe potential forimmediate pleasure - in architeenire the object referred ro by the drawing is ‘delayed’ The pleasure derives fom «combination of information from several dffrert dings ~ for instance the plan in combination te the section - leading to 2 slow blossoming of the designed structure ln the mine Architectural design therefor, involves a suspension of pleasure that produces desire In Architectures Desire: Reoding the Late Avontgorde, American architectural historian and theorist K. Michael Haye examines architecture as a way of ‘negotiating the real’ and as a'scially ymbolie production whose primary task ic the construction af concepts and subject positions rather than the making of things’ He diseustes ‘Techumls Advertisements for Archteccure, 1975-76, 8 series of posteardsized montages of disparate images accompanied by text as a ‘notational device to “Wwigger" the desire for architecture According to Hays, Techni attempts to establish fan aehitectural notation that is not secondary to some building i denotes (as aze conventionsl architectural. drawings)’ but stil contains ‘3 gp ~ a desire that must be performed by each reader of these works!” In one of is Advertisements for Architecture Techumi diseusses anther ‘ype of Aesite deriving from architectural drawing: oper antinias There erase passienshnyeinaee stolen Lock at tthe op The ge of accese va nt play at esha you may belo ao ‘These ale eo many sh art be ute se ‘he ectiigsiance of opdage: the ore merous and cnt th eras eget lense So for Techumi, architecture and architectural drawing involves an apprecition of the plessure of rules, geometry and order, compounded by a compulsive desire for their ‘rational excess and dissolution He suggests that the ultimate pleasure of architecture ies in the most forbidden parts of the architectural net where limits are perverted and prohibitions transgressed.” He stresses, however, that thie nota purely nibilistc or subversive stance ~"we are not dealing with destruction here, but with excess differences, and leftovers’ - but a creativeposition to secure the preservation of the ‘etic capacity of architect ‘This love of rules, combined with « compulsive desire to breakorexoeed them,jsnota characteristic of all architectural drawings; itis, however, a trait that links all the work presented in this book Architectural drawing ireversibly disengaged from building and employed for seduction, construction of allegorical narratives or for interrogating the limits of visual representation, is paradigmatic of Duchamps amitic pursuit, my empathetic review of ie work in search of hidden dimensions, se wall 1 my selection of his influences end legacy in architecture Duchamp’s work s exemplary ofthe paradox of constructing niles combined with a desite ro bree them His ceuvre includes meticulous and precise ‘compositions, such as the Large Glasa and Given, ‘2s wall as audscious and iconioal attacks"! These attacks seek to contest not only the underlying syntax of accepted norms in the production of art ~ 88 in his teadymadas for instance = but also challenge the foundation of his ov allegorical ‘compositions through chance operations. ‘My research so criginated as an attack aimed at perspective construction and a need to tranageess the underlying syntax of architecrutal representation. Prustratedby he fat that even in its ‘contemporary digital phase architectural drawing relies on orthographic projection and a Cartesian understanding of homogeneous space T sought to unravel its foundation. This Cartesian schema is lovely commcted Wo the vention! of perspective construction during the Renaissance, which in turn derives from 2 monocular understanding of vision. French philosopher Jean-Frangols Lyotard 5 In his Les ransformateurs Duchamp (Duchamp ‘Trans/formers), 197, sees Given as an incarnation = a fleshing out on on architectural scale ~ of the system of Renaissance perspective, while st the same time ‘sliciously at work to lay bere that systems hidden assumptione'= Inspired by Lyoterds analysis - including his expounding sketch of Givens interior ~ my research examines Duchamp’s wotkas an inversion orexpansion ofthe rules of linear perspective in search ofan altemstive understanding of visual space Drawing on Duchamp’s term ‘blossoming: which describes the Bride's desive, but, as we will sve, cen alzo be linked to Duchamp's fascination with nonEuclidean geometries and sterecacopy, T call my analysis of Given "The Blossoming of Perspective. Stereoscapy, @ popular illusory Technique infareusly linked to pomography, transgresses perspective by isolating and revealing binocular depth and allewing an image to ‘blossom in space. My analysis of Giver identifies steroscopy a its contral and intentionsl theme, influencing its intellectual content and guiding its manufacturing process. Consequently, I read Duchamp’ inversion ‘or expansion of perspective in Given as a physteally constructed stereoscopic drawing, attempting to unlock the erotic potential of architectural representation: a ‘blossoming of perepactive’ Finally transgression and excess of architectural drawing conventions links all the practitioners I present inthe conclusion as an stempt to formulate Duchamp's influences end legacy in architectural design. Jean-Frangols Niceron exeeeds perspective through anamorphocis, Jean-Jacques Lequen ‘wanegresses the boundaries of decency in ‘rchitectural representation through excessiveMARCEL DUCHAMP AND THE ARCHITECTURE OF DESIRE eroticiam, while Kiesler denounces drawing on a fat plane and builds the model ofthe endless house tz an extension of che body. Conversely, Michael ‘Webb davises drawing techniques to picture the imperceptible nature af memory and Nat Chard constructs meticulous drawing machines that violate their own structure in their mission to capture indeterminacy. Eatiely atypical, they all ‘excced the primary role of architectural drawing se geometric instructions to build and employ it as fan investigatory tool in @ sometimes refreshingly indulgent, philoeophieal pursuit, In Marcel Duckamp and the Architecture of Desire sschitectaal drawing ig both the subject matter and the method. Although ‘written, most concepts and discoveries in this book originated ‘a drawings: large ambitious final drawings; three: dimensional drawings and models; collages snimated drawings stereoscopic drawings: sketches in loobe pages and sketchbooks that I keep sale perishable sketches now lost; but also ephemeral dravingrlike ideas forming in the mind othich are dificult to fully translate into either physical drawings or words. Furtharmore, use drawing a6 a method not any of developing new ideas but also of clocely teading'cther drawings 1.22 FIGURAL THEORY "This book ie a defense of the eye! writes Lyotard Jn the introduction to hie complex work Diseours Figure, igri Lyotard defends the eye by cetablishing the notion of the ‘gure’, which be links to phenomenology, images/drawinge and the experience of seeing. He originally places figure in opposition to discourse, which he associates ‘with structural, written text and the experience of reading, For Lyotard, discourse implies the domination of text over image, conceptual epresentation aver unmedisied perception and rationality over the ‘other’ of reason. In contrast figure embraces thetoricsl tropes auch as allegory, and implies notions of configuration, shepe and image ~ yet without the clariy and transparency thst conventionally accompanies those terms, Later in the same book, Lyotard deconstructs this ‘opposition by conceiving of gure and discourse in negotiation with one another, and showing how they can be mucually implicated in creative thinking. He describes desire's complicity with the ‘igural’ and sees this as a violating force, which works to inetrupt established structures in both the vicual and the discursive realm Influenced by Lyotard’s ideas my use of architectural design sequires the violating force of thefiguisland:hronghallegory.drawingandmaling alm to challenge architectures established syntax of representation codes These codes are shaped by ‘our underscanding of vision asa cultural construct whose structure wansforms historically, influenced bby sacioeconomical parameters end technological developments. A critical understanding of the shifsing paradigms in representation of space due tothe emergence ofnewechnologies is paramount Research through the anelyticel and compositional processof architectural designleadsto hediscovery fess often unavailable to other types of enquiry: and capable of forming novel epistemological ‘models, Following Lyotard’ example, therefore Marcel Duchamp ond the Architecture of Desie is also unsshamedlya'defensecftheeye'thateritically prober the role ofthe visual in defining conceptual modlels of creative inowledge in architectoreArchitectural drawing as research method can also be applied to investigate themes from other Aliscplines suchasart, lm, music sienee orpolities Inmy research architecturel design is disconnected frombuilding:it assumes the disruptive and creative role of Lyotards figure, and, in combinston with discourse, becomes a vehicle for ettieal enquiry, Breaking the dichotomy between theory and praxis and bhuring the distinction berween two fields of architectural endeavour ~ érswing and theoreticel vesting my research explotes the potential of architectural design aa Figural Theory’ In ‘Empathetie Blossomings: The "Drawings fof Penelope Haralambidou’, British artist Brigid 5 MoLeer discusses my investigatory drawings studying the structure of Duchamp’s Given (ig 17)5For MeLeer my work challenges the principles of objectviy, dispassionate observation and remote criticism’ by proposing a method of engagement through ‘empathetie* drawing:* She mentions thet ‘nour discussion Icall hem thinking drvcings! and recognizes in them ‘an srchitect’slove of the rouble of drawn space’ and the expression of empathy with sn tit aloo in love with troubling space and fii. Desiga resaazch therefore bevomes. a pccserqutingomaty slave morthan ceicam Law fe: the deep ceogton of at open inatnmind Soi ea MARCEL OUCHAMP AND THE ARCHITECTURE OF DESIRE o commune then empty aking plac i tha pce nth the othe, darite not fly urdestading In Marcel Buckamp and the Archi the interplay between the presentation of visual saterial snd the textual analysis is integral to the constriction of the argument. My indepth architectural snalysis of Duchamp: Given fc the central focus of the book, where the design-led research through drewings sketches, photographs, models and flms ~ interweaves with the textual analysis, Another main focus is my sttempt to contertuaize and historically postion Duchamp’ wrk in architecture by presenting a selection of rao by ‘architects’ who have ether influenced his ideas, or who can be asen as carrying his legacy tectural design, My selection of their rawinge aime to identify a teritony of exploration ip architecture thet, similarly to Duchamp, seeks igh a I notation ta tedefine architectural thinking thro challenging of the syntax of archite Finally, 1 position my use of allegory, visuality and desire by exploring these themes separately ach theme is analysed by bringing together to interelated components: a theoreti and the detailed exposition of a drawing defining tn altemative practice at the boundaries between Afi Chapter 1, this introduction, Chapter 2 ‘Allegory: The Fal examines allegory in Duchamp snd architectural design The fst part of Chapter 2 Aescribes my design of an allegorical architecturalproject. The Fall which aets as the hypothesis of the research. Duchamp’s two mejor works deaw the allegorical narrative of the amorous exchange bbetazen the Bachelors and the Brice. He deseribed his Large Glass as an ‘allegorical apreszance’, land his work often addresses the viewer as an enigma ~ a subgense of literary allegory ~ that is ‘open to interpretation. Additionally, Duchamp bas famously suggested that the ertist also conceives the work as an enigma* Based on an examination of Duchamp's allegorical work, and by using theory {om literary allegory, the second part ofthe chapter. ‘Allegorial Traits, defines the role of allegory in architectural design. Although allegory exias in the experience of built architecture, Chapter 2 explores how allegory. narrative and enigma can be cemployed as creative tals in architectural draving to grasp and represent aesthetic and philosophical seas of space Chapter 9, ‘The Blossaming of Perspective: An Architectural Analysis of Giver! is 8 detailed Jnvestigation of Duchamps enigmatic final assemblage. By challenging Lyotars linking of the work to linear perspective and suggesting an association with the nineteenthentury technique of sterecscopy, the chapter puts forward an original Interpretation of Give’s method of fabrication and significance. I define Given as a built allegory of the abstract diagram of perspective construction ‘and dissect its structure by studying six significant ‘components in comparison to their perspectival ‘equivalents: ‘Squared Linoleum’, seen a the ‘embodiment ofthe Cartesian grid: ‘Wooden Dear carrying the twopeepholes instead ofthe singleapex ofthe visual pyramid ‘Gas Lamp’ an incarnation of the vanishing point or the focus of the geometiic v ‘ight Bric Wall, the physical equivalent of the picture plane; ‘Found Twig, a complex form that linear perspective is unsble render, and finally ‘Cast Nude the material projective alternative to 8 form composed from an orthographic plan, section sand elevation, Teuggest Given isthe culmination of Duchampi= search for a representational system beyond Perspective, inspired by his fascination with fourdimensional geometty and stersascopy. My methodical inrerrogationofthedlferentcomponents cof Duchamp’s seminal piece sims to expose the omissions end simplicatans inthe establishment of perspective construction, which stil infuences architectural drawing and guides architectural ‘imagination today. By linking Given to stereoscory, my objective sto demarcate an expanded notion of ‘slossomed! perspective - pointing to an space - alternative representation techniquein architecture Chapter 4,"Visuality The Act of Looting’ looks at Duchamp obsession with the visual. Often erroneously interpreted 09 enti-vieual, the term ‘antietinal’ refers to Duchamp's opposition to the simplification of vision, His ifelong preoccupation with optics sttests to his interest in visuality as an underlying structure of thought and creatviy, and his debt to the Renaissance perspectvies has been analysed by the French art historian Jean Clair amongetexhers. Although fascinated by logie and precise msthematical thinking. Duchamp vas also happy to chsllenge and mock: that same logic, Farhermore, es art historians Craig Adcock, Linda Darlymple Henderson and mn rorently Herhort Molderings have suggested, Duchemp's interest in ‘non Euclidesn geometries and the fourth dimension ‘vas linked to his search fr an alternative system forTina aco ene MARCEL DUCHAMP AND THE ARCHITECTURE OF DESIRE representing and organizing space, The frst par of Chapter 4 ‘Geometry of Vision’ traces Duchamp’s ddabt to perspective as tribute and as an ironic subversion, and analyses the influence of theories ‘of non-Euclidean geometries, the fourth dimension, tnd sterecscopy on Duchamp's conception of an expanded spatial echems based on desire, The second patt, The Act of Looking’ presents my ful scale redrawing of Giver in an installation by the same title ‘As countempolnt intetragation of Given inthe other chapters, Chaptet 5. ‘Desite: Female Nude Drawing), demonstrates fn engagement with the artwork on a personal ‘embodied level. It attempts to convey my gendered position én regard to its architectural staging of desire and how a visceral engagement with art can open up different layers of meaning No figures faecompany the txt in this chapter but it contains a drawing in words Finally in Chapter 6, ‘Defrocked Caresians: Duchampis Influences and Legacy, assume the role of a curator, electing drawings by ‘architects! the telletual and ‘philosophers whose work I see as directly or indirectly connected with Duchamp's 1 coined the term ‘defzocked Cartesians’ fem = comment Duchamp made in an interview, referring to his ‘Caresian’ fascination with ruled drawing and perspective, and calling himself deffoqué (Gefrocked) to describe his simultancous desice to exceed the limitations of these representation techniques through irony. The chapter i in the ise ofan exhibition eatalogue, where [introduce the rationale behind my decision to associate each ‘work with Duchamp in a short text, thus giving priority tothe ‘reading’ of the selected drawings. ‘The length and atmicture of the chapters in ‘Marcel Duchamp and the Archvecrureof Desire vary ‘considerebly To use an example from architectural design, the book structure ig equivalent to the concept af Raumplon: the term is linked to Austrian architect Adolf Loos’ use of internal distribution of spaces according to which avery room in a building is designed at the necessary height, breaking the ‘gid vertical separation in single-bsight floors Each chapter in the book, like a room in a builing has the necessary length endl intemal configuration to discuss and pertay the ideas explored, therefore, avoiding a forced homogeneity. Perhaps unavoidably, given my background Jn architectural design, I have slso understood the different parts of the book as spaces. or rooms belonging to an edifice, in terms of their significance, subject matter, or position in the structure, For instance, after the front garden and porch of Chapter thisintraduetion, signifying the fentry point of the reaearch, Chapter 2, ‘Allegory The Fail, can be understood #8 an sntechamber cor a vestibule. Chapter 2, The Blossoming of Perspective: An Architectural Analysis of Given! is the central part of the book, the core of this allegorical construction. It is subdivided into six sections named after selected elements composing Giver: ‘Squared Linoleum’, Wooden ‘Door, Brick Wall, ‘Gas Lamp’, Found Twigs’ and “Cast Nude, The sections constitute stops on & topological joumey through the piece snd act as cabinets of curiosities, or ‘mnemotectonic loci displaying ideas related to the diferent parts ofthe assemblage” In Chapter 4, Visuality: The Act of Looking, I diseet vision and visual representation ‘technique as in a laboratory, The shortest chapterChapter ‘Desie: Female Nude Drawing’ where T engage with Given from an autobiographical point of view asa female architectural designer and weiter and a moter, isa withdrawing room’* Finally the concluding Chapter 6, ‘Defrocked Carsians: Duchamp's Influences and Legacy’ differs sigeScantly rom therest ofthe chapters a¢ the primacy ofthe visual material takes ovee, This part ofthe book i therefore similar to a plcture salen. 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