1) The courtyard of Frac is aggregated of glass stick in order to generate a gluing a smearing of the existing building as a potential of a Body Without Organ (a “going to be done” and unachieved process of construction) and inside the thickness of the glass a labyrinth walk way and accessibilities. A scattering script is written to develop the aggregation.
2) Procedures of constructions and cleanings are assisted by robots (with or without automatism) to introduce randomisation and uncertainty in the final shape and to be able to re-program the labyrinth during the construction itself…
3) The elements of glass are from a citizen glass recycling process in order to reduce the raw material costs and involve the inhabitants of the agglomeration in the “work to be done” story.
4) The construction schedule is planned on more than 10 years for the same reason…construction became a factor a desire with a desirable machine (Duchamp)
5) Using individual RIFD-PDA to force each visitor to accept to loose themselves in the glass maze and redefine their XYZ positioning according to the specificities of an exhibition (PAD with sound, video and local GPS)
The robot-like protocol at the base of our proposal R&Sie (N) /PierreHuyghe is not an automatism of construction, autonomous, in the continuation of a techno-cybernetics. It is mainly in random mode of displacement the “cleaning fish” of the aggregates of glass, and becomes by disengaging a machine of building site at the time of the phase of construction .................... phase which is stretched over one 10 years period to develop the self-reprogramming and progressive adaptation to the evolution of desires
We are not here in a Renault-Peugeot-Citroen workshop, with a budget of 1200euros/m²
The Olzweg animal takes part in the narration of the project, in its real, machinist and fictional inscription, in the continuation of “The Bride reveals herself as naked”, “the crushing of chocolate… ”, and other Duchamps protocols of transformation.
The landscapes are real and imaginary… to clash with these subjectivities duplicated… simultaneously to build them in the ambivalence of their two fields… in contingencies… on a narrative and procedural mode… at the same time interstices of blurred memory related to the Farmhouse-Media-Culture and inscriptions with the hollows of real situations…
The rumor of a thing being done… on a dubious mode, at the same time scenario and building… it is that “Olzweg”.
The machine is the vector, the vehicle, for a constructive subjectivisation.
This project falls under the continuation of research “I' ve heard about’’ fragment of self-organized town planning, elaborate in 2005, exposed to the Museum of the 21st century/Kanazawa /Japan, MAM/Museum of Contemporary art of Paris, De Singel/Antwerp/Belgium.
Description from architects