My intention in parts 1 through 4 of this manual has been to outline the shifts in
systems from the object to the code and to identify the saturating effects that new
global languages have on our perception of the territorial and social landscapes
of the world. In fact, the whole premise has been to flatten the concepts of real space (the
earth as object or more specifically, architecture as object) into the horizontal
codes of digital technologies and graphic sign-systems. The proposition is that
architecture must be refashioned out of the fabrics of the logoized world, generating indeterminate
envelopes of sheer resonance and cultural noise.
Since the origin of MAP is SHEET, the information on it may be purely graphic or expressive since MAP doesn't implicate anything more than a surface, a 2D plane. But, as a MAP is nothing without information on it, architecture too must intersect with the graphic to become a fully communicative spatial apparatus. In this, architecture is implicated as the most performative OVERCODED system of all, where function, signforms, shape, material, text, and even nature are layers of codes creating a dense but fluxual environment.
In the contemporary world, it seems as if architecture should not function as a vessel or container of knowledge or the social. Such a fixed/closed idea of function retards the processes, filtrations, and overcodings that a supple architectural systems could provide. Instead, it should operate more like an extrapolation machine, a device capable of re-spatializing the dramatic currents and flows of culture, not merely a mirror held up to reflect it. By BENDING UP (OR DOWN) the worldsheet, architecture is a sudden spatializing and transforming third dimensional phenomenon which actualizes and sets into motion the intertextualized codes. My scheme for the GALLERYÅEMA space is an overcoded diagram of this concept.