Architecture
is Air
Cameron Hapgood
The case study used throughout this explication of theory is a L'avenir Studio design for a client in Adelaide, Australia. ‘Fat Fucking Frog’, also known as Frog, is an inaccessible, controlled, and illusive garden within a forest embellished in, a place where ecology is valued. The façade decays, the internals rot and become mouldy, and access is through the healing tracks of seeds-to-plants. The theoretical prose underpinning the designs are metaphors for growth and maturity through (un)becoming, shadows, and boundaries. This position will explain an aspect of life, is, rather than what. There is tension between Real Objects and Real Qualities, essence fused with causation. In my attempt at shifting perception and relationships, I adhere to a quote from Vitruvius (circa 25 BC);
The ideal architect should be a person of letters, a mathematician, familiar with historical studies, a diligent student of philosophy, acquainted with music, not ignorant of medicine, learned in the responses of jurisconsult, familiar with astronomy and astronomical calculations.
Venturing down seemingly disconnected rabbit holes of theory, the mystery of life is never what it seems. We will all unfold. Meaning is now how you make it. It does not have to be what it always was. Yin-yang symbolises that there can be a bit of bad in the good and vice versa. It is better to view this symbol as intended in movement and spin, where black and white become a harmony of grey. Knowledge is diffractive and interactive, arising from interconnected relationships, enriched by diverse perspectives, shaped by specific practices and power dynamics, necessitating ethical considerations, and co-creating meaning and materiality.
I use Donna Harroway’s diffractive methodology[1] to explain my theory of Frog. Topics of enquiry are Graham Harmen’s Object-Oriented Ontology—OOO (‘triple-O’),[2] philosophical insight into essence and existence, sociological, and anthropological understandings of violence, the neurobiology and psychology of fear and anxiety, the Copenhagen Interpretation of Quantum Theory, and causation through feminist theorist and physicist, Karen Barad. I call this theory ‘The Stream to Light and Healing.’ As I can’t communicate with you directly, I talk with you through a bending in hope of persuading you into a new way of being toward actions of amicability. Can we perceive uncertainty as a positive and move on with understanding and forgiveness? You are in control. Or are you because I let you be?
In Critique of Judgement Immanuel Kant posits that matter can have no spontaneity.[3]Living matter is a contradiction of lifeless inertia. Hylozoism contradicts the conventional understanding of life and matter.[4] A vital principle is an invisible presence that performs actions that a mechanical process could not without assistance.[5] Jane Bennet[6]argues that the vital principle cannot be ‘physico-chemical’, because of the observation of morphogenesis.[7]Entelechy is created in the gaps in the ‘chain of strictly physico-chemical or mechanical events’.[8]
Aesthetics is the first principle of OOO. How things, people, and places are is a combination of other things, people, places, and their appearance. There is a gap—air—between what a thing is and the aesthetics of its perceived exterior. The knowing of this sentence is not the sentence; the words making up this sentence are not the sentence; the meaning of these words in the sentence is not the sentence, and so on. Frog is, by being not. It is a waste to move through time and space to understand and localise a point of where the gap is. An object is not a sum of its parts or memorisodic qualities. There must be an acceptance that things are and are not themselves at an irreducible unity in present time. OOO is similar to a state of logical contradiction, and therefore not understandable in a socially agreed standard of consistency. Analogies to spark your imagination of what inconsistency is: growth of an acorn into an oak tree, a baby being fed by a bottle or breast, progressing to adulthood, and cooking a meal. Fear opens up a sensitivity to the abundance of life that is a more vibrant experience than joy. The entelechy located within fear is serenity. Haecceity[9] can be pervasive.
Air is the fourth element of ebbs and flows, fluctuations, vortices, and tornadoes. It is involved in movement, transportation, and the drama of events. “The air enables movement and perception, as well as communication, travel, situatedness, and dislocation, in as much as it joins the members of societies and cultures in a common climate.”[10] Air is a being with agency in weather, wind, seasons, and temperatures. Air is synonymous with climate (etymology of klinein; Greek word meaning: to slope, lean, rest, recline, or bend.)
Colonialist arguments[11] posit a historical exploitation of racism linked to place and climate. By changing the climate, a subject changes itself. Culture is self-transformational. Culture uses the working of air to engage a habitable, profitable, and exploitable foundation to existence. We currently relate to air through ‘climate change’. Climate is experienced through temporality. Weather is a singular day of ephemeral memories. Climate change takes on a global and statistical view with an absence of subjective experience, a seemingly inaccessible complexity of meteorological models and jargonised processes to deter the simplistic nature of air. Air has become a hyper-object.[12] Air now has an absence of culture and symbolism. Air is the constitution of constantly pressured movements. This uncertainty with understanding is predictably and understandably exhausting. It is better to perceive air as energy in motion: e-motion.
Movement of air is synonymous with thoughts, feelings, and beliefs. The only constant is change. Scale determines sense of place. Ability within the presence of remembering scale is determinant in locality and non-locality of the moment. In its beginning and inside Frog is a sense of white cardboard fused with white cardboard, the sense of a fused white cardboard existing and avoiding moisture from the build-up inside Frog. Here, the sense of Frog as a garden in a forest, the sense of the forest within a mycelium network, and the sense of objective violence[13] dips into the entanglement and immersion of the stickiness of our damaging effect on climate. The self-abuse of inner climates becomes a maelstrom of behaviours. Take in as many moments to be angry, have a cheeky gossip and opinion-sharing session. News media becomes a climate of distressing situations to practise empathy or gratitude. Tensions exist between near/far, static/dynamic, linear/cyclical, expectation with fear/actualised event, and patterns/singularity.
Frog goes beyond the divide of being and environment and exchanges in the engagement of breath, skin, smell, and change in season. There is an immersion of flowing flowering fields with shifting perspectives, the noticing of outside compared to inside and inside to actuality. There might be an opening to the world of sensually alluring tasteful harming compliments, and the grounded grounding or repetitive watching of the watcher of inside and outside critiques. But, this is tragically uncertain and unpredictable based on hitherto analysis.
Memory serves us as an apparatus of deception, a navigation tool to achieve a desired direction.[14] Memory is used to reconstruct selective highlights of significant moments, emotions, and details. Sequential ordering provides a logical flow, the creation of coherence is by linking events through cause and effect of thematic connections.
Information is, then, contextualised to enhance understanding. Applications of emotional depth create relatability and engagement. Emotional recall conveys a tone so listeners empathise. A detailed and sensory-rich memory immerses the vividness of identity. Individual identity is constructed through personal placement of profitability in a reflection of values and beliefs. Collective identity is created through community and culture. Expression can be through myths, traditions, and historical accounts. Storytelling through analogies and metaphor is an effective tool for learning and teaching. Memories become blended and manufactured through imagination and filling in the gaps in an embellishing style for the purpose of coherence, entertainment, or objective violence. Fragmentation and the distortion of various narrative factors lead to inaccuracy from personal biases and perspectives that are shaped by desired goals and wanted outcomes.
Morphogenesis is an individual process from a blastocyst to an ontogenesis and then onwards to a response towards restitution. The morphogenesis manifoldness in a location does not emerge from the uniform space of an egg. It remains theoretically impossible for a manifold to occur from the source of unity. So, the preceding manifold must be a composite not in space. An extensive manifoldness emerges from the intensive manifoldness. Life becomes puzzling if understood through mechanism alone. It’s all good, man.
Entelechy[15] is the agency of non-process, self-moving, and self-altering. The vital principle of entelechy is understood as neither of the process in the mechanical body nor as the soul. True power and control is entelechy. A power responsible for life and non-life. The qualities of organic are affected by change in a provoked and coordinated response. Organic systems learn from experience, hold the ability to adapt to a real action through an internal individual stimulus. This individualisation directs the agency of entelechy. Potentiality of connected lines and actions is greater than the actuality of what unfolds. The agent responsible for the singular specific actuality from a vast potentiality is the relaxing action of entelechy. Here, we witness a directing power in allowing uncertainty and possibilities to emerge from the organism and become actuality through behaviour.
To maintain the status quo, entelechy is innovative in its actions to repair old parts, recreate amputations, and adapt old qualities into new roles. Individual movements of an organism are not environmentally determined or mechanically caused by stimuli. The only affect of outside events affecting an individual is through the creation of possibilities for further acting. Freedom exists in indefiniteness. ‘Entelechy is the order of relation and absolutely nothing else.’[16] Entelechy is like Machiavelli’s Fortuna[17] or Homer’s Psyche.[18] We observe and partake in a vitality that flows throughout all living bodies; there is coordination without a rigid plan; it is a general direction answering phenomena innovatively and comfortably. It is the moment in time, observation, and apparatus of convergence into a singularity of unifying dichotomies, discrepancies, and disgust.
Is this the closet depiction of God? Unlikely. But, you can believe so if your entelechy says so.
We malinger through our lives not getting well and sink deeper into the malasys and abyss of fear. Existence precedes essence, agency is freedom,[19]and the attainment of freedom is organised with causes, motives, and ends. To attain creative power is to give up hope for a search of essence. This surrender allows L'avenir[20] and possibilities. Social learning of fear is through instruction and observation.[21]Amygdala-centred model of fear conditioning explains social learning of fear. Fears can be obtained through direct experiences—conditioned stimuli and unconditioned stimuli (CS-US)—or indirectly through social transfer, e.g. observing news on a media device and applying qualities to yourself. Fear in possibilities precedes essencing violence and agency towards self-centred desires and goals. CS-US affect autonomic, endocrine, and cognition responses within humans. These human neurobiological responses are environmental and phylogenetic.[22]Verbal instructions can override the effects of past phenomena with CS-US pairings.[23] The main behavioural effect of experience in unconditioned stimuli expectancy ratings is similar between conditioned stimuli experienced and conditioned stimuli instructed. Verbally, instructed fear reversal affects both conditioned stimuli experienced and conditioned stimuli instructed from a threat to safe to an equal degree.
Frog is a grandiose, alluring, and slippery egotistical building. It is reflective of you and paradoxically your own Essence of Violence and the precedent with an Existence of Fear. This architectural form and experience is the imbuement of a causal relation in the tension of your own plight of denial with being uneducated and abstract. The action of unfolding is violent. First, Frog is produced by an interaction that then stabilises allowing it to enter a new interaction. Now, the basis of the object can change. Secondly, the life of Frog is based on the emerging properties and the role the basis of Frog has in fulfilling those properties. Structures of the interaction matter more than any other object. Thirdly, inevitably, the basis of Frog can change if the emerging properties are nourished. It reveals itself and affects other beings in its environment and network. It is a continual way of Being, of exerting oneself on its surroundings. Frog begins with a pristine canvas clad skin; this sheath deteriorates and decays through time. Once the decay has passed and the cloth walls are brought down, the structure remains. Climbing plants climb and blossom. Internal space once creating a hidden space of cardboard sculpture for butterflies and bees to nest has now turned to mush and pulp. Physis[24] is the origins of process, but not process as an interaction with others externally. Interactions allow the physis to reveal itself and remain incomplete, a process driven by entelechy. Internal space fills with water ponds of ecologies and life with plants and frogs adoring the inner beauty. Dasein[25] is the agency of existing and participating in being. A continual act of revealing its vulnerabilities and authenticity to the world. The depth of the inner voids of Frog have been filled. On a warm day you will find a swimming hole in the forest. The void is filled with life sustaining organisms and a water that cleans itself. Frog is now accountable and responsible. It takes care of itself and those who dwell near it.
The medium of architecture is air. Architecture represents all of our movement. There is a climatic phenomena of internal thoughts, feelings, and beliefs adjusting to the objective violence of working and hiding external systems. The phenomenon of perception is the entelechy in memoricentric aesthetics creating the external symbology hiding in plain sight. Essence is violent. Thoughts, feelings, and beliefs are the inside and the outside fused with a new and chaotic view of causality. Air is a medium of unbecoming, a weightless, invisible, and imperceptible perception. Air is a background perception. We view air through the trees, and we hear air through gaps. Existence is relishing the fear of standing out. This dynamic state also eats up the fear of fitting in. Existing is like the vortex, draining and computable. Air is a verb, a doing word, like love.
OOO reveals the weird world in which we live. Hyper-plurality and individualism are how objects disconnect, dissipate, withdraw, and create meaning in their own identity.[26] Sparkling and fleeting connections through the surface of experiences. Dancing with humbling humility by observing humans as a small portion within the interplay. Universal organisms expressing their fundamental parts in the euphonic cacophony of life. A Real Object (RO)[27] is anything that exists as its own reality, disconnected from the effects of its environment and in a position above the summary of its parts. A being that is created from relations with other organisms (Bios/Zóé[28]/Geos[29]) and relates to external objects. Each object is a real thing; it is independent of the help of other objects in being. An object is taking an action in the foundational process of coming into being or becoming prominent in its reality. All objects withdraw, and from this action they are deviant.[30] This deviant act allows an inaccessibility by other beings to being-present-with.[31]
Real Qualities (RQ) emerge from a link with RO. RO are formed from multiple parts. When these causal intra-actions become linked together to form an object, the excess properties of parts not needed in the intra-action float in a close field of RQ surrounding the object ready to be used in the next causal relation. The floating is deep, internal, and mysteriously haecceity-y. RQ are unknowable as they cannot be held within the hands of the mind; they are just as romantic as their kin—sensual. Sensual Qualities (SQ) are perspective-dependent and RQ are perspective-independent.
Our relationship with objects is a reliance on them for a slippery purpose. Relationality distorts the reality of things. We experience a world of broken parts. The surface of any object is elaborate and pure. This is the location of dramatic power and interaction. Causal power remains in the inaccessible depths where discretion and autonomous form hides. All relations are surface and superficial. Causation occurs when there is a breaking of, suspension of, or a confrontation unfolding between Real Objects (RO) - Sensual Objects (SO), and a privacy of objects from one another. When broken such a state creates new objects and interior spaces. The proximity of RO-SO is the occasion for a connection between an RO inside the desires—ambition, aim, and intent—of another RO. This has a puzzle-like effect and creates overlaps that shed new light on the actuality of experiences. Reality lies beyond perception; we do not transcend the world but rather descend into the kaleidoscope of allure and into the beauty and heart of objects.
Withdrawal is paradoxical. There is an accessibility towards intimacy. Proximity is a subjugated ontic thought. The paradoxical relationship is a denial of space and time. Metaphysics of presence has shifted and you can have an ontological existence without constant attendance. We live and exist in an expression of a withdrawn vacuum. Persistence qua execution suggests Real Objects withdraw from one another and it is impossible for one object to affect another at all. The affect comes from inside the withdrawal, for example, in an action like vomiting. Withdrawal has two parts: excess and independence.[32]Excess follows along with an internal action (execution) and the capacity for external action (causation) that unfolds from within. Execution is pure in that it is persistently precluding every actual interaction, and pure actuality of possible interactions. Therefore, execution rises above both interaction and possibility. As every possibility is shielded from our understanding, withdrawal of reality is unknowable and thus independent. Things are in a tension between the duality of a persistent amalgamation and inherent plurality.
Understanding outside requires bending. Empathic agency can be used in bending, but relating to the outside is through the inside's memories. Causality is an aesthetic phenomenon. Aesthetic events occur in a vacuum of loneliness, separability, and complete delusion of trying to gain a connection towards anything in the universe. The only aspect an object can relate with, connect to, or touch another object by, whether material, emotional, sensorial, or thought, is through a manifestation of perception with an interaction. More importantly, through an intra-action.[33]
Effect precedes cause when it comes to imagination, time, critical thinking, and planning. A desired outcome is worked back through actionable experiences that may cause them. Observer effects are independent. Quantum mechanics can seem complex and counter-intuitive. The subject can be the observer and subject of observation, simultaneously.
Quantum mechanics precedes classical physics.[34]Complementarity principle[35]introduces the theory that an object can exhibit dual properties. Cause and effect is not clearly defined as being deterministically linked. This model of understanding the nature of interaction now acknowledges observation as the device for affecting systems and objects being observed. Classical models of physics give causation as being deterministic, applying that future state systems can be predicted with clarity and certainty. Heisenberg’s uncertainty principle[36]acknowledges that certain pairs of physical properties—position and momentum—cannot be precisely measured simultaneously. Causation is now probabilistic rather than deterministic.
Observer effect[37] refers to the role of the observer in the measurement process. This act of measuring affects the system. Such a position challenges traditional views of causation where the observer is independent of the observed system. The outcome of the process can depend on the measurement and perception. Niels Bohr has redefined the limitations of classical causation with the Copenhagen Interpretation of Quantum Theory.[38]This framework underpins the nature of reality and has leaked into other systems of knowledge and power. There is an entanglement between the material and the discursive. Matter and meaning are co-constituted. This expands on Bohr’s complementarity that integrating practices, language, and material realities are intertwined. There is a deep interconnection in our practices of knowledge.
If objects were able to touch at the quantum scale of Planck length, they would merge and become one another. Objects and qualities do not touch and causality is brought into the vicarious aesthetic dimension of enmeshment.[39]There is no material or physical reason why causality happens. Therefore, it is the illusion of aesthetics in how the happenings unfold from a withdrawal of perception. Measurements of causality endeavour to disregard shadows, sounds, lights, and electromagnetic phenomena. The double-slit experiment[40] in quantum mechanics illustrates the role of observation in wave-particle duality of quantum phenomena. Before measurement, two photons can be entangled as they emerge from a laser; there is an instantaneous capability within photons to react to the other’s spin[41] and angular momentum.[42]This current understanding within quantum theory disregards an idealistic version of causality where a phenomenon would be invisible and inaudible in totality.
Referentiality is the embodying of chosen concepts at the exclusion of others. This marks distinction between subject-object. Cognitive behaviour therapy is the adjustment of a current state of reality perception self-manipulated towards another. Ideas obtain their meaning in relation to a defined physical apparatus of measurement and observation. This is the shift in objective knowledge acquisition. Human beings determine the outcome and play an interventionist role, stepping forward, tweaking a few dials, and stepping back to watch entelechy come through all aspects of essence and spinning causation into the void of certain uncertainties.
The twelfth-century polymath-occasionalist, Al-Ghazali, posits that God interrupts the link between cause and effect and, in an analogy, provides the occasion for fire to catch cotton.[43] The second-century Buddhist philosopher, Nagarjuna, argues that if something was to arise from itself or if something were to arise from something else that was not itself, then nothing can or would happen.[44] Causal explanations are circular; both-and and neither-nor are mixed views and possibilities. This is the definition of Nagarjuna’s nihilism. Emptiness is not absence but the inability to conceptualise reality. Nothing is something you don’t understand, so it becomes frightening.
Psychology and psychiatry have taken on the histrionic pattern of moralistic compassionate-oppression that has replaced the church. Faith is now science and the witches burnt at the stake are replaced with bipolar women. The patterns are the same; language has progressed. Grasping ghastly at a thing never gives you the thing-in-itself.[45] The status quo of social contracts is agreed on sub-consciously and through the veil of ‘fear of being an outsider.’ Each object maintains its own unique violent essence and withdraws into the individuality of its fears. Reality is something to be seen. Plato’s allegory of the cave[46] suggests movement towards truth requires a turn. Perception in seeing is bending thought through the figures in the cave as being dis-torsions as shadow projections. Figures as shadows and shadows as their Self. Western architecture has progressed from the ancient Greeks. The allegory of the cave is as ancient as the Greeks and stands as a point of reference for the ‘courageous light’ within Frog.
Law is a construct shaped by human ethics and Eurocentric moral values. Courtrooms create an illusion of control by attempting to enforce power and maintain order. This is an illusion as the paradox is; the judge is a servant to the public, and yet, is seated in a higher position within the spatiality of the place. All judges are below and of service to those they sentence and to whom they dictate order. We hope judges remember this. The ‘courageous light’ is spatially lower than the skin and external outside. The delusion of order is imbued in the spatial form of Frog. There is a difference between sense perception and on-going empirical investigation. The intellectual process in empirical investigation moves beyond intuitive perceptible qualities into a deeper order. No process can achieve order. Codified Law enforces order but the process to achieve order is never actualised. Only a fantasy, a delusion, and a cyclical one at that. Sense perception owns the empirical intellectual process as it plays with an unmanageable urgency. Change happens, though events are an instantaneous change of state. This is, as well as, part of a process, that is, a series of events. Things undergo processes and in turn cause changes in other things. The longer amount of time within a process, the larger the effective causal change. For example, the process of law is about fact creation. Law is about the search and application for truth. Truth finding happens through a series of events unfolding leading to reactions. Character is observed through the length of this process.
Agential cut[47] is the process by which boundaries are created and distinctions made between and with entities and phenomena. These cuts are the gaps in what we know—epistemology—and what exists—ontology. Life is a series of relations, entanglements, enmeshment, doumining, and euphonic cacophonies. It feels like the combination of joy and fear—excitement, joy, and sadness (melancholy) or joy and joy (euphoria)—embodies the addition of red + blue = purple, yellow + blue = green, and yellow + red = orange. Queering non-binaries, there is an abundance of anti-matter in comparison to matter. This holistic approach combines our understanding of what exists (ontology), how we come to know it (epistemology), and the ethical implication of our knowledge (ethico-onto-epistemology).[48]
Frog (RO) is filled with plants, bees, butterflies, and organisms within the internal space of the ‘courageous light’ (RQ). It can never be admired for its full beauty. We can observe little moments through the gaps in Frog’s surface, but we can never enter and be with this illuminating space (withdrawal). ‘The path to heal’ gets in the way of us entering Frog (essence) . Water always finds a way of getting where it needs to be. Over time the ‘crooked stream’ fills the ducts and dykes inside Frog, until it reaches the internal space (fused with causation).
Architecture is for Air: Entelechy through (un)becoming, the withdrawal of Reality in Objects and Qualities, ([Fear] Existence within) ([Violence] Essence) in(side) the shadows, and the fusion of vicarious causation within the boundaries of intra-actions.
The theory ‘The Stream to Light and Healing’ is a foundational part to the design process of Fat Fucking Frog. The process begins with entelechy, the realisation of potential, which guides Physis and Dasein in the unfolding of being-in-the-world. The process of Frog engages the movement of gaps and air through thoughts, feelings, and beliefs, becoming an intra-action in aesthetics, where the structure itself reflects the lived experience of those who inhabit it. The shadow, formed by memory, hyper-plurality, and individualism, reveals the deeper layers of existence, where fear becomes a precursor to an objectively violent essencing. This fusion with relationality acknowledges that each element influences the others, guided by the principles of complementarity and the uncertainty of quantum scale causation.
Through the lens of Object-Oriented Ontology, Frog must balance the Real Object—Real Qualities, while also embracing the paradox of withdrawal, where objects remain unknowable in their full complexity. Observation affects referentiality and enmeshment, where objects and elements are inseparable yet distinct. Absence, here, is not a void but the inability to fully grasp the withdrawn inaccessible depth and reality of objects and qualities. Perception guides the way we sense and interpret space and boundaries, leading to agential cuts—decisive moments where possibilities become singularity, and one outcome becomes actualised. Ultimately, Frog becomes a testament to the interaction and intra-action between air and memory, where existence precedes essence, shaping both the structure and the lives within it.
Air will remain in the background, away from observation, if it functions without disruption and corruption. There is a knowledge that results from recognition, the paradigm of new, rising from a renewed potentiality from within. We understand the anthropogenic effects of climate change. Air is now another object in need of care through the violence of control, repair, and reform. Probability, uncertainty, and fear are known factors in this collapse. Probability amplifies an explanation as to why a pattern can be on the opposing side of the duality spectrum until observed. Reality lies beyond perception. We do not transcend the world, but rather descend into the kaleidoscope of allure and into the beauty and heart of objects.
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