PERFORMATIVE SPACE, London, 1996–2007

These projects interpret Karlheinz Stockhausen’s music as a performative methodology for spatial practice. This practice not only reframes the static principles of architectural representation, but also re-orientates the conventions of ‘axiality, symmetry or formal sequence’ (Allen, 1997). In order to develop this practice, I was fortunate to be accepted on the Karlheinz Stockhausen Composition and Interpretation Course, Kürten in 2007, where I explored Stockhausen’s serialism theory as a theoretical framework to generate performative space. These theories have influenced my development of a new form for architectural design. Performative space supports a closer synergistic relationship between the dynamic complexities of space and time and shifts the architectural practice towards a more reflexive dimension of space making.

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SPACE INTERFACE II, KARST + REDUX IVT, Plymouth, 2016

THIS IS WHERE WE ARE, Tate Modern, 2016

SIGNAL TRANSDUCTION, Lichtturm Solingen, Germany, 2016

THE BIRTH OF MEMORY, The Place, London, 2016

SPACE INTERFACE, Weithorn Galerie, Düsseldorf, 2015

OPEN STATE, Tokyo Art Centre, Japan, 2015

THE MIRROR BLUR, Plymouth City Museum / TATE, 2015–2016

ERGOTIZED SPACE, Academy of Arts, Berlin, 2014

ILLEGAL ARCHITECT FILM SCORE, London, 2013

ASYNCHRONOUS PERCEPTION, Lucerne, Switzerland, 2013

VECTION BUILDER, The Roman Baths, Bath, 2010–2012

180° TRAUMA, Military Hospital, Germany, 2012

THE BOOK OF REVELATION, interpretative studies, 2004–

PSYCHOTROPIC SPACE & CAUSAL ENVIRONMENTS, 2011–

DRAWING, NOTATION, MAPPING & DIAGRAMS, 1996–

OVERLAID REALITIES, Cabinet Peninsula Arts, Plymouth, 2010

JURASSIC CHALLENGE, Dorset, 2004

3D SOUNDSCAPES, 2 Marsham Street, London, 2000