FORMAT FACTORY - The Presentation Tables : the end is the beginning
Final Presentation Format
Format Factory is presented to the audience or the tutors at the end of the year jury using the main final format of the website. As explained in the previous page, the website allows to merge the horizontal and vertical plane, translating the relationship between the three-dimensional objects on the table and the two-dimensional drawings on television screen within itself. Since format is the only content of the project, it speaks only about the arrangement of form and leaves room for the interpretation of potential hidden fictional narratives:
HIDDEN NARRATIVE OF THE PRESENTATION FORMAT
Thoughts on the construction of the obstruction
of meaning
Format Factory is laid out on the table and narrated in a guided tour on the websites of the Architect's Format Online on the television screen.
At first, the screen presents a random constellation of articles as equal.
But upon clicking the ''format'' link, the thesis is visualized in a dual opposition of framed images. The previous and following slides allow for a reading across the overall sequence, which situates six worlds in parallel. As one link leads to another, one can read and wander from the yellow sticky note to the quarry and back to the tables.
The arrangement of frames is the format which negotiates the relationship between form, content and context, always working on a psychological mechanism of belonging through remembering.
The view I am imposing is not a totalitarian one but remains fragmented through all stages. Whilst the television screen acts as a tableau closing content, the table top presentation is constructed as a chessboard opening up content. All in all the interpretation or meaning of the contents remains elusive. As a physical construct, the screen which enables the viewing of the montage of images can be likened to the door hole of Duchamp's Given which allows for a flattened view on the assemblage behind it. As a conceptual construct, the presentation of the framed images functions like Duchamp's large glass within which content as format and content as meaning coexist, yet never touch.
Meaning lies in the eyes of the beholder and is always in transit. Hence the audience is forced to listen attentively as I explain my founded or arbitrary reasoning behind the different formats.
At the end, the contents of the screen loop back to the index page. Now the audience's focus shifts away from the interface and the presentation screen becomes part of the format of the tables again.
The end is the beginning - as long as everything is formatted...