Within : Without

Within : Without, 2011

The digital version of the slide projection Within : Without simply provides an opportunity to see the work without having it to be installed. To experience the work completely, however, it is important to see it as a slide projection, together with the two slide projections associated with it: Flux Balance : Rotating Wings (2010) and Ahoy (2013).

Within : Without is a work in which two slide projectors projected the slides in sequence onto the same projection area. The first slide is seen alone for eighteen seconds before the next slide is projected over the already existing image. This results in a superimposition of two views that lasts for six seconds before the first image disappears slowly and the next one can be seen alone for another eighteen seconds before the next superimposition occurs. Thirty-nine images are shown in this rhythm, offering the viewers a rhythmically flowing tour of Rudolph Schindler’s How House. The slide show is conceived as a loop.

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Within : Without is the second of three slide projections based on early buildings by Schindler (1922–26). The first projection, Flux Balance : Rotating Wings, on Schindler’s residence in West Hollywood, was completed in 2010 and the third projection, Ahoy, on the Lovell Beach House in Newport Beach, Orange County, in the summer of 2013.

The three houses in question are among the few buildings for which Schindler worked with concrete. The use of this material opened up for him new possibilities for thinking about statics and load-bearing structures to pursue his work on spatial architecture in a new and fundamentally freer way. This is particularly evident in the Lovell Beach House, as the load-bearing structure so characteristic of this building is made of concrete.

The How House was built by Schindler in 1925 for James Eads How. The lot is a rocky terrain that is entered at street level and slopes down into a gully on the other side. Schindler adapted the How House to the lot: the back of the house is terraced and glides down into the rocky canyon. For the parts of the house located within the slope, Schindler used primarily concrete, whose structure and color harmonizes with the rocky terrain; the front part of the house is dominated by wood (Californian redwood). Schindler allowed his choice of colors and materials to be guided by the nature both of the lot and the surroundings, which are characterized by eucalyptus trees and their dense foliage.

The slide projection Within : Without, which lasts just under twelve minutes, first shows views of the exterior and garden of the How House. Superimpositions ultimately lead the viewer from the living room window on the side into the interior and then, following the bilateral, diagonal floor plan, through Schindler’s architecture into the exterior spaces adjoining the rooms. The images slowly flow into one another, inducing a fluid motion, as if the viewers were actually walking through the building themselves. On the one hand, superimposing two views of the space addresses the fluid equilibrium of Schindler’s architecture and, on the other hand, emphasizes the materiality of the architectonic boundary where interior and exterior views meet. Just as the walls are where the interior and exterior space come into contact, the superimposition is the boundary where the interior transitions into the exterior.

Moving images by Sandra Peters
14:00 minutes, silent
© Sandra Peters 2011
Editing: Tyler Calkin
Location: Rudolph Schindler’s How House in Silverlake, Los Angeles

Technique: slide projection (2 projectors and 1 fader)