Tectonic configuration relates to forces of movement. For instance in stepping and stacking components, you work with rising and lowering powers. In bending and weaving material, you stretch along and across. Both in experiencing and making architecture, the term ‘tectonic gesture’ is an operative concept. It shapes space and transcends build construction as well as model-constructions use of vector lines and 3D surfaces.
Body-movement interacts with space and surface. Such switching between stretch-out of nonvisible space and courses of visible lines and surfaces potentially opens the sensual reach of both build architecture and in modelling – even if the ambiguity is hard to grasp and to render operative. It’s not without good reason that we still continue to refer to folding operations of the Baroque era and here find appropriate references for factual ambiguity. Great baroque layouts literally force the body to switch between axis and mass – recurrently to give way, pacing the expanding axe, and move alongside or inside the circumscribing mass or surface.
With modelling, the actual work switches between body, space and surface as mutually moving configurators, displaying constructions of vector-line, animated 3D-atmosspheric plasticity, and video-movements. Shaping flows and rhythmic cracks, encounters and frictions of the divergent material, the work-field concurrently twists values and questions the generated delimitations. The expressions may be explored as sensual fellow feelings – like convex surfaces as showing one’s back and concave lines of demarcation as embracing and reaching out.