ABSTRACT
This chapter evaluates how affect is active, activated, and activates practices of - and processes of - affective image-making in architectural practices. It examines visualisations that Reiser + Umemoto, RUR Architecture DPC, constructs for their Kaohsiung Port Terminal project: a series of exterior views and one interior view, the latter capturing, as architect Jesse Reiser describes, the ‘sweet spot’ of the project. The chapter explores how these set of images engage in processes of affective charge that in part play upon three particular art practice traditions: the artistic effect of the panorama; atmospheric painterly means; and practice of iconography. As the argument developed indicates, RUR’s image-making practice is as much about a process of the charge of the image as about a process of generating new strategies to design from - or design to - for the production of architecture. At issue here is not a matter of image as representation that sticks to reality. Rather, as Alan Latham and Derek McCormack put it, the endeavour is ‘to make more of image,’ where images (can) become sticky through affect. Importantly, RUR’s image-making practice illustrate a slightly out of real-time, where the image surface connects the present (yet-ness) and the future (not-yet-ness) through affective stutters.
