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THE VOID HYPOTHESIS

Controlled experiments to quantify the ineffable qualities of emptiness

INTER 13 2012 - 2013

Miraj AhmedMartin Jameson

ARCHITECTURAL ASSOCIATION SCHOOL OF ARCHITECTURE

AA Inter 13 2012-13; Extended Brief

The Void Hypothesis: controlled ex-periments to quantify the ineffable qualities of emptiness

“What is the meaning of art, architecture, music, painting or poetry if not the anticipation of a suspended wonderstruck moment, a miraculous moment”George Bataille

Emptiness is both a state of suspension and possibility. Its relation to experimentation is well documented in art and science. Currently there are plans afoot to build a ghost city in a desert somewhere in the USA that will be unpopulated in order to create ideal experimental condi-tions. It will be wired to laboratories beneath and its very emptiness will allow completely controlled conditions for the commercial testing of environmental technology. Although this research will have ecological benefits, the approach is largely technocratic and corporate. In the light of this we ask if it is possible to employ emptiness not as a testing ground for technology, but for experi-ments that explore the phenomena associated with nothingness, occupation, community or civic life as well as poetic urban experience.

Our interest is in the eternal enduring qualities of archi-tecture and the contemplation of the philosophical, po-etic and experiential attributes of space. This is the world of memory, psychological impulses and sensations as well as the socio-political and contextual. Our contemplation is directed toward the phenomenological potential of ab-sence / presence and place making and a commentary on the nature of space and the city. We will examine how void can be a space of experimentation that challenges existing forms of occupation. The void as a laboratory for

possible modes of civic life.

London’s Isle of Dogs will be our site. We will immerse ourselves in drawing and modelling its complexities, understanding the forces that shape the city: topography, history, culture and politics. Canary Wharf on the Isle of Dogs, an imported type of city space, represented a new phase in political economy that is now in a state of crisis. This will be our context for an ‘other’ experimental space, in opposition to the prevailing norm. Analysis of site and architectural precedents will provide a spring-board for a series of speculations leading to detailed proposals. Through seminars we will examine the desire for ‘ideal city’ planning and the reality of the contingent. Density in its various guises present on the site will be explored and represented in order to find the interstitial, the limits, instabilities and tensions.

The qualities of ‘nothing’ will be essential ingredients within the proposed spaces – where the tangible coexists with the intangible, the measurable with the immeasur-able. Fine art practices such as painting, performance and installation will become techniques to elicit the enigmatic – further translated into architectural methods of ex-perimentation through drawing, materiality and construc-tion. Proposed spaces will employ emptiness in order to test and quantify possible scenarios, elusive and ineffable qualities that are vital to the life of cities.

“Architecture is the void; it is up to you to define it.”Luigi Snozzi

Experiments to determine effect of atomic bomb


YEAR OVERVIEW - STUDIO

Term 1 focuses on theoretical readings of void, the Isle of Dogs, and research and development of concepts for the main design project. Firstly we will engage with the concepts of the void and its relation to science, art and philosophy. Selection of artworks that explore void will become the basis of new works. Ideas and direc-tions acquired in the first phase can then be applied to the second in which the relationships between void and architecture are explored through precedent study of buildings and city planning. Each student will develop a ‘void hypothesis’ based on the first two phases and un-derstanding of the potentialities of ‘emptiness’, absence, negation, erasure etc. Qualitative (and quantitative) at-tributes of void will become the basis of technical studies that will manifest as a conceptual proposition that will be explored and represented in a range of media; photo/film, collage, model-making and drawing. In the third phase we will document and analyse the site. With detailed draw-ings and laser cut modelling as base – we will observe and identify urban socio-political issues to be critiqued. ‘Void hypotheses’ will be further developed in order to formulate briefs and concepts – that lead to strategic propositions explored through advanced photoshop col-lage.

Term 2 leads to the development of concepts to-wards an architectural proposition within the Isle of Dogs, where hypotheses are tested within specific sites. Students will develop ideas from Term 1 through physi-cal technical experimentation that will form the basis of

the TS document to be completed by the end of Term 2. Each student will propose their own site and program based on the research of the first term; conceptual inter-pretations of void and analysis of the selected part of the Isle of Dogs. Term 1 and 2 are divided into three phases of work. At the end of the first two phases of each term there will be a pin up and discussion.

Term 3 will be divided into two phases focused on final documentation and representation. The first phase will be a consolidation of the design proposition and develop-ment of drawings and models, while the second phase will concentrate on ‘finish’ – the final representational drawings, models and book for the portfolio. The book will be a designed document and artefact in itself.All terms will include seminars and workshops that will open up discussion and a backdrop to experimentation and design. There will be juries with invited guests at the end of each term.

Isle of Dogs


YEAR OVERVIEW - SEMINARS AND COURSEWORK

History & Theory

Students joining Unit 13 should have an interest and articulacy in art and cultural theory and have a desire to translate this into design. The ideas and theories relat-ing to the ‘void’ and the strategies that are employed in philosophy, literature, art and architecture will be key in terms of design application and should inform the proj-ects theoretically and materially. Students are encouraged to combine HTS with their project research and concep-tual grounding.

Workshops and Seminars

Term 1 will include a series of seminars and talks that will cover theories of void in art, science, culture/ philosophy and architecture / city planning.

Scientific MethodVoid in ArtScientific VoidPhilosophical VoidVoid in Architecture and City Planning (Ideal Cities, Empty Cities, Boulee, Ledoux, Le Corbusier, Ungers, Koolhaas)

Workshops will focus on skills and techniques of repre-sentation.

Technical Studies

Structure, environment and material construction are essential and integral to the design process. Technical re-search should be documented and collated as an ongoing process in order to support concepts and build a viable technical study that underpins the main design project – based on experimentation and research. We will follow TS Option 1 that entails submission in Term 2. Further information on the TS is given in the Appendix.

Design Portfolio

Students are expected to collate all design material of the year into an A2 portfolio document. As well as this A3 volumes will also be developed and bound at the end of the year. This should be an on-going process of col-lation in order to exhibit the volumes at the end of the year. Folio checks will occur at the end of each term. Stu-dents will be expected to master In-design and elegant layout techniques for the folio and the final book.

Family on Isle of Dogs


Overview of the term

The first term focuses on research into the void, the site and the development of skills as the foundation for the final project proposition in term 2.

The term is divided in 4 phases. Phase 0 is a short three day exercise - a visit to the Isle of Dogs with an im-pressionistic documentation through drawing, text and photography. Then Phase 1 starts with the theoretical concepts of the void and its relation to science, art and philosophy. Phase 2 is based on research into void, archi-tecture and city planning through an analysis and trans-formation of architectural precedent. In this phase we work in both two and three dimensions with architec-tural drawing and with physical model making. The term ends with a 3rd phase that involves analysis of the Isle of Dogs and site selection. This leads to a conceptual / stra-tegic proposition based on an individual ‘void hypotheses’. This may or may not be related to a site. Throughout the term we will run a series of seminars that cover the artistic, cultural and social aspects of the void.

At the end of the term students will have developed an advanced skill set (drawing and two dimensional repre-sentation, three dimensional modelling); have developed a personal position on the void and the potential of ‘nothing’; and have selected a site and associated project strategy. HTS essays should be developed in line with this work.

First Term

1-0. INTO THE VOID

Robert Morris, untitled, 1974


Isle of Dogs Site

Visit

0

The Void in Art and Science

Emptiness as the basis of experiment

1

The Void in Architecture

Architecutural precedent research and transformation

2

Void Strategy

Site and proposition strategy

3

Pin-up Pin-up Jury

Theory Seminars

Skills Workshops

HTS Lectures

Pin-up

Week 10Week 9Week 8Week 7Week 6Week 5Week 4Week 3Week 2Week 1 Week 11 Week 12

First Term

1-0. INTO THE VOID


Week 128.09.12 – 02.10.12

Two-day visit to Isle of Dogs to understand the com-mercial and residential areas as well as its topography. Document impressions with a wide range of media: found objects, materials, photographs, edited videos, writ-ten narratives.

First Term: Phase 0

1.0 ISLE OF DOGS - SITE VISIT

Isle of Dogs from the air


Weeks 2 – 5 02.10.12 – 26.10.12

Emptiness as basis for experiment

In modern western philosophy the void and emptiness has often been seen as negative. The void as an ‘other’ place has been viewed as fearful and nihilistic. However, the concept of nothing and zero is ancient in the east and has a place as much as any other physical element, considered positive – where its otherness is fecund with imagination and possibility. It can be intimate or sub-lime, it is the formless field that allows things to dwell or move, as well as the space in between or the hollow contained within. The void suggests both absence and presence, density and weightlessness and it is also a pro-cess involving negation – towards nothing, zero, entropy, erasure, tabula rasa.

‘Space is nothing, yet we have a kind of vague faith in it.’ Robert Smithson

A drive towards nothing has always been explored in both art and architecture for its powerful symbolism and subjective experience. It is a desire for a return to essential qualities and a primary state. The void has a use value beyond the emblematic or minimal. It is part of an essential process of creation and sensation. So our focus is on making and the interplay between something and nothing.

First Term: Phase 1

1-1. ART AND THE SCIENTIFIC METHOD

It is pertinent to note that the notions of void, emptiness, zero has been contemplated for millennia, in philosophy, science and art. Thoughts about it have influential and the concepts continue to be explored – empirically and hypothetically.

In phase I students will delve into the ideas that have been explored with regard to void in the works of artists and scientists.

Each student will select a work of art that explores the notion of void – where the work either uses it as a vehicle or its ‘use value’ to support other ideas, or it is an exploration for itself. What are the manifestations of nothingness – phenomena that are physical or immate-rial?

Void / Mass, Emptiness, Darkness / Light, Density, Porosity, Weightlessness, No-thing, Silence, Vacuum, Formless, Vol-ume, In-between, Movement, Negation, Erasure, Cancella-tion, Contradiction, Paradox, Being / nonbeing,

Identification of the void or lack of void will be made in the selected work. In taking ownership of ideas, students will exaggerate, transform and remake the work. Hy-potheses will be developed to declare the value of empti-ness, and performative scientific experiments will be set up to validate.

Analysis of the process will be made through diagrams text, photographs and measured drawings.

Yves Klein


Weeks 6 - 9 29.10.12 – 23.11.12 Precedent analysis

The process of removal, clearing, tabula rasa, is essential to building. The idea of void as volume and carved space is implicit in the creation of architecture. However there are more philosophical ideas about void that underpin architecture.

‘Less is more’ Mies van der Rohe

A tendency towards disappearance, reduction and sim-plicity can be seen in history through removal of orna-ment, applied colour and simplified forms. From reformist churches to Adolf Loos and white modernism to Mies van der Rohe and minimalism, the idea of negation within architecture remains a pervasive and fascinating area of exploration.

The second phase takes the unit into precedent study. The aim is to study the void as used in architecture. Stu-dents will carefully dissect a masterpiece of architecture (realised or not) and to build it anew. The first step is to draw and understand by identifying balance, symmetry, structure, circulation, solid and void; the use and misuse of space. The second step focuses on the void space and a re-representation of this space. This will involve exten-sion, exaggeration, reconfiguration and solid-void inver-sion. Students will prepare a detailed 3D digital model

First Term: Phase 2

1-2. ARCHITECTURAL PRECEDENTS

as the basis of a physical model making exercise with emphasis on laser-cutting and casting techniques. This work will be associated with development of interests in structural, environmental and phenomenological aspects of the architectural void that will inform the TS thesis.

We will reference various texts including OM Ungers’s Green Archipelagos; Koolhaas’s “Imagining Nothingness” and “Strategies for the Void”; George Bataille’s Accursed Share. There will be a pin-up at the conclusion of this phase with invited critics.

Ledoux, Ideal City


Weeks 10-12 26.11.12 – 14.12.12

The Agency of Emptiness: site, brief and proposition strategy

The Isle of Dogs is the remarkable island-like peninsula on the Thames. West India Docks on the Isle of Dogs in London’s East End was once the world’s busiest com-mercial port. Surrounded by five-storey warehouses and a continuous six metre brick wall the four huge docks accommodated over 1,000 ships laden with spice, tea, Persian carpets and silk. This enclave was in effect the very heart of the British Empire: a controlled capitalist mini-city employing tens of thousands of dock workers. Following decline in the late twentieth century the same docks were designated an enterprise zone free from the constraints of urban planning and taxation. Exploiting these legal loop-holes SOM worked with developers Olympia & York to design over 1,000,000 m2 of office space — the high-rise global financial capital of Canary Wharf.

In both instances the void was instrumental in creating intense urban activity. West India Docks was an urban void denoted by open planes of water tightly bound by an un-climbable wall. Canary Wharf is an urban void in the sense that the principles of civic inclusion and responsibility have been made subservient of the exigencies of raising and deploying capital. Taking away, clearing, emptying, exclud-ing — the void has always represented as a potent tool for re-imagining urban potential. This appraisal sets up two related questions: what scope is there to re-imagine the Isle of Dogs as a site of future urban experimentation?; and how can the void be employed to release latent potential?

First Term: Phase 3

1-3. STRATEGY: ISLE OF DOGS

The site analysis work will entail processes of observation, survey mapping, historical and social documentation, draw-ing and model making (using both laser cutting and CNC). Base information in the form of high quality site drawings in 2d and 3d as well as a site model will be carried out as group exercise over a three week period. Individual obser-vations and analysis and extrapolation will be documented with suppositions, appraisals and imagination. The final phase of the first term takes place on site. The first two phases will allow students to develop an intellec-tual position with respect to the void and its potential. Site selection is undertaken with this potential in mind.

With an understanding of the Isle of Dogs and its associ-ated physicality and atmospheres, students will develop a critique and response though the formulation of a brief and a speculative proposition. This speculation will explore the agency of emptiness that is conceptually a commentary on the found conditions within the Isle of Dogs - represented through drawings and collage as well as other means such as video models. The speculation can be related to a specific site or may be associated with the area more generally.


16.12.12 – 22.12.12

Unit Study Trip The unit trip will be to the city of Lyon which will become our base to visit CERN labs in Geneva and Le Corbusier’s La Tourette monastery and Firminy church Near Lyon. Programmes and architecture that relates to the void.

First Term: Unit Trip

UNIT TRIP

CERNFirminy


07.01.13 – 22.03.13


The second term leads to the development of an archi-tectural proposition. Like the first term it is divided in three phases.

The first phase is essentially a research and experi-mentation phase: here the emphasis is on technical and performative criteria. The second phase emphasises the main design elements including circulation, configuration of space and programme. The final phase is a physical model-making phase.

At the end of the term students will have prepared a closely argued architectural proposition which includes a technical justification and a compelling physical model and third years will have completed TS3.

Second Term

2-0. MUCH ADO ABOUT NOTHING

Canary Wharf at night


Technical Design of the Void

Structural, material and phenomenological research

1

The Void as a Proposition

Architecutural design proposition

2

Materialisation of the Void

Physical model-making

3

Pin-up Pin-up Jury

TS tutorials

TS final

3rd year previews

TS interim

Week 10Week 9Week 8Week 7Week 6Week 5Week 4Week 3Week 2Week 1 Week 11

Second Term

2-0. MUCH ADO ABOUT NOTHING


The scientific method typically involves the following steps:

1. Ask a question2. Do background research3. Construct a hypothesis4. Test your hypothesis by doing an experiment5. Analyze your data and draw a conclusion6. Communicate your results

The research must place emphasis on making and physi-cal experimentation. All aspects should be documented and represented at every step with drawings, images etc. This work will be documented in an A3 booklet, as well as portfolio pages.

Weeks 1 - 4 07.01.12 – 01.02.13

Controlled experiments: technical research and design

The second term begins with intense research into the performative qualities of the empty space and interpreta-tions of void phenomena. For third years this work feeds directly into the TS thesis. The work here is experimental and methodical. Students will develop hypotheses with respect to the performance of void space and test these through physical experiments and model making. Possible topics include phenomenology, structure and material. Given that design propositions explore ideas of oc-cupation and emptiness, what are the potential lines of enquiry into void phenomena? Phenomena such as that of silence, darkness, light, density, porosity, sacredness, formlessness, transgression etc have a relation to notions of void.

Each student should identify the brief and site precisely; what the nature of the building / space being proposed is, what it does, its relation to context and the aims of its performance. The ‘scientific method’ of experimenta-tion should be followed even where investigations are metaphysical in nature.

Second Term: Phase 1

2-1. TECHNICAL DESIGN OF THE VOID

City os laboratory


Weeks 5 to 8 04.02.13 – 01.03.13

Architectural design proposition

The second phase of the term is the heart of the design phase of work. Here we start with developing greater precision regarding program and circulation before the key design moves regarding spatial disposition and quali-ties. The design must both reflect the potentialities of the site and the thesis position developed in the first term.

The design propositions are essentially polemic in nature. The intention is that each design should allow an idea to be tested. The program will be non-specific and the propositions will be empty spaces with the potential for experimental occupation.

At this stage the TS research and conclusions should inform a design proposition. There will be a series of design workshops during this phase to accelerate the de-sign process. There will be a pin-up at the end of week 8.


2-2. THE VOID AS A PROPOSITION

Green archipelago


Dates: Weeks 9 to 11 04.03.13 – 22.03.13

Physical model making of design proposition

The end of the second term is dedicated to physical model making. This will involve detailed rhino modeling and setting out and the use of various digital techniques including laser cutting and sintering. We also envisage the continued use of casting techniques. All models will include site information as modeled at the end of the first term, and aspects of materiality as researched at the beginning of the second term. TS work should be final-ised and submitted at the end of this phase.


2-3. MATERIALISATION OF THE VOID


Hans Haacke, Empty Box



The last term focuses on representation, compilation and speculation at the city scale as well as the completion of the design and portfolio. The compilation work brings together the whole portfolio and addresses gaps and inconsistencies. There are essentially two phases in the short final term. Phase 1 is focused on the consolidation and representation of the design in relation to the wider context while Phase 2 looks at the finessing touches of the portfolio and book design. The speculation work al-lows the project to address a wider scale beyond the site itself. The emphasis will be on large scale collages and drawings. All material should be compiled throughout the year as an on-going basis, brought together in its final state during the third term.

Third Term

3-0. SOMETHING FROM NOTHING


Weeks 1 to 2 22.04.13 – 10.05.13

Compilation of the portfolio and completion of drawing set

All outstanding orthographic drawings need to be com-pleted by the end of this phase. Folios are to be format- ted and printed at A2 or larger. Each student will also complete and bind book as extension to folio.

Third Term: Phase 1

3-1. DOCUMENTING THE VOID

Hotel axonometric, O M Ungers


Dates: Weeks 3 to 6 07.05.13 – 24.05.13

Series of speculative collages and drawings at city scale

As in previous years we will be experimenting with col-lage techniques using photoshop and perspective drawing.

The idea of this work is both to better represent the ideas of the design itself and to speculate at a bigger scale. In other words, this phase asks the question: what is the agency of the void at the scale of the city?

Final juries will take place in the week commencing May 13. Second year final tables are on June 3 and third year final tables on June 10,11

Third Term: Phase 2

3-2. SPECULATIVE VOID SPACE

OMA, Tres Grande Bibliotheque


‘Moulding clay into a vessel, we find the utility in its hollow-ness; Cutting doors and windows for a house, we find the utility in its empty space. Therefore the being of things is profitable, the non being of things is serviceable.’Lao Tzu

The unit will be following Option 1: submission during Term 2.

The 3rd Year technical report (TS3) will be a body of research that explores a particular aspect of a design. Observed and recorded phenomena will provide the basis for concepts and technical explorations. Material and structural strategies will be explored in parallel to the sociopolitical implications of ‘void’. This will provide the basis for specific phenomena and technical aspects of the design.

Material processes, such as cutting, destruction, erasure, casting etc will inform model making and architectural technique and become part of the tools for experimenta-tion with TS. Other techniques and interests will emerge depending on the nature and intent of the project. In term 1 phase 2, the investigations of an architectural precedent will reveal issues of programme, event, spatial hierarchies and a whole range of physical and metaphysi-cal phenomena that will allow students to develop very particular interests that will initiate further TS research over the rest of term one and the following. In term 2 these criteria will be the focus of more detailed experi-mentation and research – leading to a comprehensive

Appendix

TECHNICAL STUDIES TS3

body of work that will form the TS report for 3rd year and portfolio work for 2nd year.

Students should be aware that TS should not be seen as a separate study – it is very much a part of the design process beginning early in term one with each individual’s observations and analysis of place and phenomena – which becomes the basis of investigation underpinning the design concept.

Experiments to determine effect of atomic bomb


Inter 13 is interested in the fundamental conditions of space and the oppositional interplay between form and formless-ness, order and disorder, sacred and profane; the basis of heterogeneous cultural experiences of the city. We are not interested in complex form making or architectural ‘objects’ that do not respond to place, the contingent and the or-dinary but strive for a deeper understanding of space and human experience. It is space that is complex and the things that happen within it that hold the biggest challenges. In this regard we are engaging with the concept of the void – that useful ‘nothing’ that is so often taken for granted.

PhenomenaIn Japanese philosophy, there are five elements: earth, water, fire, air, void. It is part of the physical world and yet imma-terial. It exists as a phenomena that is integral to experi-ence along with all of the other elements. The concept of zero was discovered in ancient India and was taken up by scientists and philosophers alike. It is an ingredient of every- thing. It speaks of lack as opposed to excess - darkness as opposed to light, silence as opposed to sound. Other words to describe the void / nothing ; the infinite, abyss, vacuum, darkness, space - the interest in the void span science, theol-ogy and philosophy.

LanguageThe void exists between and within words. Absence of words can be meaningful. Lewis Carroll in ‘Alice’s Adven-tures in Wonderland’ played with words and the negation of meaning. Issues of scale – less and more, issues of presence and absence confound and amuse Alice. The ‘Map of the Ocean’ in Carroll’s ‘Hunting of the Snark’ also represents a lack. Laurence Sterne in ‘The Life and Opinions of Tristram Shandy, Gentleman’ chooses to represent death as a black page. In his book ‘La Disparition’ George Perec omits the letter ‘e’ - a poignant absence.

Appendix

SOME THOUGHTS ABOUT NOTHING

ArtThe idea of nothing has always existed within art. The no-tion of the blank space waiting or needing to be filled and the idea of the mark within an empty space go back to cave painting. The importance of the void continues in represen-tation to this day. The balance of object as held in pictorial space, or the illusion of depth can be seen in painting. More recent minimalist art explores nothingness in both two and three dimensional space, and also time based works.

MonumentsThe void can also be seen in the halting of time through the memorial. It has no function in relation to day to day use. Memorials can be a defined object or space that has few uses beyond its symbolic meaning signifying death.

Non-PlaceSince Nietzsche we have understood the possibility of the world as Godless and therefore without a preordained meaning. The idea that the world or things can lack meaning is a modern concept - that we exist within a void of meaning - and meaning is to be created by us. In this respect the idea of an emptiness within things can be seen in pop art, in which the vacuousness of modern life is either critiqued or celebrated. In a similar way the idea of the ‘non place’ as described by Marc Auge points to spaces such as supermar-kets, airports and hotel rooms as being in some ways blank and placeless.

Political SpaceThe city (Polis) by its very nature is political. The division of territorial space is negotiated, land is assigned and void spaces such as streets and squares are created to connect and provide spaces for civic life. The plan of Athens incorpo-rated the civic Agora - the space that connected the major civic institutions. The Nolli plan of Rome shows the city as solid (black) and void (white) and describes well the acces-sible nature of the void space (the interior of churches is

described as white. However there are complexities within the spaces of the city that are left over, useless or conten-tious. Boundaries are often vague and therefore we have expressions such as ‘no mans land. In revolutionary Paris the open space of Place de La Concorde became the execution site of the old order.

The process of growth of cities involves layering over time, densification and this in turn gives way to demolition, erasure, cuts that open up new voids. Nash’s processional route cuts through London making an open connection between St James and the then new Regents Park, while Haussman’s boulevards slice through old medieval Paris - these are political acts.

The Void as ProgrammeThere are programmed spaces where the void - or empti-ness is of utmost importance. Where we try to minimise the functional - or render them invisible. Planetariums aim to create the illusion of the cosmos - the great abyss. A simula-tion of total darkness punctuated only by points of light.The art gallery is one such space. In contemporary art the gallery artefact is knowable and unknowable - so we make building that can be filled with unspecified things. Blank spaces that are hyper neutral. White cubes, shells, empty warehouses or power stations become what we call galler-ies. Religious buildings or emblematic political buildings tap into the void to create the connection with the sublime - volumes that inspire awe through vastness. We look to the foyer of a bank or powerful institution where the expres-sion of power is made through the excess of emptiness.There is also an emptiness that is intimate and this is the space of the body. Henri Lefebvre refers to space being produced by people. That it is a performance, an event. This relates to our daily lives and therefore all spaces. This type of space becomes most manifest in the spaces of perfor-mance. Peter Brook in his book ‘ The Empty Space’ points out that within emptiness we can create other spaces.


Layer Cake (Isle of Dogs)

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