There is no front facade, only a front door. The weekend house is conceived as a passage from physical entry to optical departure or, simply, a door to a window. Beyond the door, a knife-edge cuts the receding 100-foot long passage in two. To the left is a sequence of bedrooms and baths. To the right is the ascent to the kitchen and living area. At the far end is the ocean view. To either side of the “picture window” are two antenna-like stacks: the chimney is to the right, the video apparatus to the left. At the summit of the left stack sits a live video camera directed at the water view and feeding the monitor in front of the picture window. The electronic view is operable; the camera can pan or zoom by remote control. When recorded, the view may be deferred— day played back at night, fair weather played back in foul. The composite view formed by the screen in front of the picture window is always out of register, collapsing the opposition between the authentic and mediated. (unrealized) The Desiring Eye: Reviewing the Slow House is a multi-media installation at Gallery Ma in Tokyo that tells the story of the house in 24 displays.
- Horizon view
- Collage of exterior perspective with shoreline vista
|Location Slow House, Long Island, United States|
|Team||Elizabeth Diller and Ricardo Scofidio|
Landscape Projection and Its Technological Use in Conceptualising Places and Architecture
Periodica Polytechnica Architecture 09/12/2022
Performative Reading of Slow House as an Attempt to Conceptualise Architectural Space