ABSTRACT
Notes (a) Drafting Pier 40 is a hostage to chance in the form of temporal occupation, weather and seasonal change, as well as the diachronic effects of time. The title ‘Imaginary Landscape’, used for each found architecture discovered at different stages of the modelmaking process, is the exact name used by John Cage for several of his chance-related pieces executed between 1939 and 1952. Imaginary Landscape No. 4 (1951) in this series is his famous piece for twelve radios determined by whatever sounds happen to be on the air at the time of the performance. Overall Drafting Pier 40 is set up dialogically with Cage’s views on indeterminacy and his chance operations. Drawings 05-07 are direct adaptations of the instructions for Fontana Mix (1958). By superimposing drawings on different sheets of paper the performer of Fontana Mix creates different structures from which new music scores can be made. Similarly Drafting Pier 40 can endlessly adapt itself to new spatial arrangements. For a detailed analysis of Fontana Mix see Chapter 7.
(b) Earlier versions of this work have been published in Manolopoulou, ‘Drawing on Chance: Drafting Pier 40’, The Journal of Architecture (vol. 11, no. 3, 2006), pp. 303-14; and ‘Drafting Pier 40: The Development of Chance as a Drawing Tool in the Process of Architectural Design’, Architectural Design Research RMIT (vol. 1, no.1, 2005), pp. 19-38.
