Scale as Such
Scale as such is a year-long investigation
on scale as a fundamental property within art and architecture, experienced through a subject in its comprehension of space; concerning disciplinary relations of/between mind and body. It is an attempt to hyper-realize our relationship with the 'object' and its 'objecthood'. Using movement and first person perspective, the work transgresses from the material property of space to the perceptive faculty of human cognition, bringing into concern the questions of mind-body, inside-outside and fragmentation-integration. In its experience of space through movement, the subject’s relation to the surrounding is actively referenced by framing devices like a door or a window and other inanimate objects. The
human experience, as per the psychological investigation is subdivided into
fragmented and disconnected elements which are aligned in specific
configurations and patterns. It dealt with concerns of human vision
constructing the real through experience and sensory perceptions while also at
the same time maintaining the insistence on the existence of real as real.
Scale is implicit in human perception. Through the experience of identifying
known objects, scale fabricates intermediate relations between them to imply
false depth making spatial connotations. Scale is relative here.
Scale is articulated in reference to
James Gibson’s classification of ‘visual world‘ and ‘visual field’; the former
refers to the real and the latter represents a pictorial representation of the real as a flat image recorded by the
retina in the process of seeing. The relative aspect - contingent to scale, is further emphasized by phenomenally scaling up and down of objects corresponding to the movement around them. It is the shift in scale of these objects that mediates their relation into architecture concerns of spatiality and function. It further aims to investigate on the
affect and effect of scale on body - as a phenomenal object and on mind - as a
It is during the times like we are in now, it is the most important to put emphasize on our relation with objects that surrounds us, that fabricates our everyday processes. The overall drama is set within a domestic interior, in and around everyday objects of occupation and consumption; articulated in the contemporary condition of social isolation and quarantine impositions.
© sudhir ambasana/2022