ABSTRACT
This chapter offers an affective critique of the disjunctive creative process within the very heart of architectural production. Specifically, the chapter explores how affect, as stickiness-in-process, enables Kerstin Thompson Architects, in collaboration with landscape architects Fiona Harrisson and Simon Ellis, and artist Callum Morten, to bring together disparate bodies and design processes through the Monash University Museum of Art project (MUMA) - in combination with the Ian Potter Sculpture Court design and the permanent public work Silverscreen. These are processes fractured and disruptive; stuttering operations sharing a productive relationship through the affective medium of diagramming. The chapter first traces the becoming-other diagramming process that transforms the point, to the line, to the planes; and second, it examines the three-dimensional structure of the Silverscreen, an armature; its machinic properties instigating pressures and desires in the design process. Importantly, this interplay generates different, yet interlinked, iterations of diagrammatic spatial configurations for MUMA; acting as both a communicative and a generative tool, it enables a multitude of design conditions, affects, and atmospheres.
