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Arts & Communication A mean, the body. A mean body

that at the end of the day, we all inventory. Either you like it an apparent contradiction, and maybe Herzberger and my
or not. Either I liked reading Deleuze or not. inevitable architectural fixation can help clarify. After all,
To inventory in space, I place the objects on the floor, I wrote a full architectural thesis in 2018 on construction
[9]
a table, or on any planar surface where I can see the whole kits for the adaptive re-use of modern buildings . Once
unit’s material characteristics and count them. I lay them you identify the constructive elements that allow a building
out in columns of tens, twenties, or fifths, depending on the to grow and/or change in a wide range of possibilities, it is
surface dimensions. This is so I can multiply by the number when you have found your kit. The kit does not determine
of lines to know my count. Ones, twos, and fives are the the use; it is just a facilitator, like the grid.
multiplication tables I prefer, or may be the sequences Inventories within grids, as I virtually build them, are
I remember the most, because, in a way, I do not count open structures. “Open structures, as understood today,
anymore. I multiply by them (tens, twenties, or fifths) and are structures that are open to interaction with the world
conform (this sentence does make sense). In comfort. at large: unlike closed structures, they can influence their
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12 surroundings and, in turn, be influenced by them. In
architecture, this mainly relates to consequences over time,
2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 24 in other words, with enlargement or transformation” .
[10]
5, 10, 15, 20, 25, 30, 35, 40, 45, 50, 55, 60 The grid is a spatial possibility used to order-disorder.
There is no preconception or layout of the borders/
When a material process involves multiple steps —
meaning, the objects must be picked up and intervened alignments of the grid before the placing of the objects. It
happens almost at the same time. As a result, I rarely make
unitarily more than once — the inventory is rearranged each perfect grids. The final lines usually do not make the total
of those times. The plaster pieces I make, once they dry in amount of columns that the line above does. To know how
their hanging formworks, are removed from the formworks many objects are in the inventory, I count the number of
one by one, and placed in place(s). Then, I must pick them
up from there, one by one, to peel off the fabric formwork columns, multiply by the number of lines minus one, and
then count the objects in the last line individually and add
attached to the plaster. Once peeled, the plaster pieces are them. Rarely perfect grids.
placed back again in the space(s), and the formworks are
collected in a plastic bag or bucket. Regardless of whether The human body, one, plastic, fabric, tape.
the object is returned to its same position in the grid layout, The human body, one, fabric, tape, cardboard, rice,
the object’s characteristics have changed (and my hands paper, compost, cream cheese.
are not that precise). These replacements usually keep the
main structure of lines and columns, and the objects change The human body, one, fabric, plaster, cotton cord.
their former placement. My inventories are dynamic and The human body, one, fabric, sand, cotton cord.
responsive to the process, not only of the material itself but
also to those who facilitate the process. One human body, one plastic sheet, one fabric piece,
one tape roll.
I used to agree with Rosalind Krauss when she said,
“The grid declares the space of art to be at once autonomous One body of human, one sheet of plastic, one piece of
[8]
and autotelic” . Meaning that the grid, in a way, made the fabric, one roll of tape.
rest of the world — boundaries/outside geometries — 4. The grid is active
disappear or do not appear in the art’s space. Making the
objects within the grid had a relationship of order (only) I placed 30 sandbags on the floor. I counted them beforehand
based on their esthetics, leaving the environment, world, and marked them with a tag that specifies their dimensions,
unconsidered. However, if the positioning of the objects in weight, type of fabric, and type of filling (sand). There are
the grid is constantly changing, then there must be more two types of fabric and two types of sand. I do not know the
than the relationship they have to themselves as a group exact names of the fabrics as I found them in the scraps box
and their esthetics. Esthetics, here, for the sake of not of a fabric store. The salesman did not know what they were
starting another paper, is just being considered as Deleuze’s either. What we do know is that one fabric is more elastic
characteristics that allow us to find resemblances and than the other. Both fabrics are light-colored; one leans
differences. Does that help? For instance, the plaster pieces toward beige, and the other toward gray. That is what I think
respond to me, an external force, then the environment, I know. I think we can agree that color is subjective, too.
and then the need for a plain-colored base (which is why The two types of sand are play sand, typically used in kids’
I laid them on kraft paper). This, in a way, makes the grid sandboxes, and tube sand, which comes packaged in tubes
spatial without being constrainable. This might seem like and is not supposed to be taken out of the tube, apparently.

Volume 1 Issue 2 (2023) 5 https://doi.org/10.36922/ac.1137