Posted by Milan Karaklic 22 Mar 11

1011M4 MK

With the use of and with the multiplicity of s-motions, proposed structure tempts to create a specific way of moving and perceiving space. Its sinuosity has tendency to seduce subtly. Proposed structure is not defined by fixed points in space as fixed points are not important here. Although, the construct is not pointless, but what maters here is a different kind of point, more like control point of a spline and the motion path created by such structure.

S-motion is characterized by inflection that could be sensed in writing or shaping of letter “S” and that is the condition of flexible. Just like “s” in the words “slide”, “spiral”, “serpentine”, the concepts of sliding, spiraling, serpentining as gerunds do not stand for things but for effects that are inherent, that subsist in things. What is meant by s-motion is effect of opening that never ends up being closed but differentiates into another opening.

Space is given in such a way that somewhere leaks, something flows away, something leads behind. For participant here something is never simply and wholly present, it is never grabbed into one room, captured into one present. By s-motion it disappears behind visible. It is elusive, given through a game of appearing and disappearing. In s-motion distinction between beginning and end is substituted by a game of appearing and disappearing.


This game is accomplished by a kind of a sliding technique. Such motion technique lets event to spread, as a kind of escape from the grid, just as in manuscript motion eludes the grid of paper under it. In sliding in music as in manuscript it is not about spacing one more closely to another, it is about maintaining smooth continuous contact with a surface while passing from one specified position to another. Here, it is also about continuous motion and attempt to make something smoother. In every of this cases it is about something that is given unbroken, without intervening breaks, silence or space.

Here, related space of one specified program (position) runs into the next, its duration stretches into the next. Space in between specified positions is passed in such a way that the related spaces are not easy to individualize as they shouldn’t be. Sliding is a technique which, if done properly, should enable those spaces to be sensed together. In here, event avoids to be captured. As such, it is always displaced. As one shifts from position to position, “it fails to observe its place.”


Spiraling means to wind round and round in a continuous series of loops as one advance to higher levels. It involves series of cyclical movements.

Spiraling enables multiplicity of loops, overlapping one over another that corresponds to that doubling of “o”-s one after another in a word “loop”. By that overlapping that characterizes structure of loops, here some program and its related space also overlap. By multiplicity of loops scenes could be looped in various ways to provide multiplicity of scenarios.

Just like in ice-skating motion, here also something can be differentiated from the whole though not separated as it loops in to continue the circulation. For example, by spiraling some program in structure is able to take off from one point of structure, make one, two or three turns in the air before it gets back in structure to close the loop.

Serpentining (or the Snake game)

As one advances, it is serpentining that prolongs stepping to higher levels. In serpentining one goes wide as much as it can before it steps higher. In the Snake game, a player controls moving of a long thin creature, which roams around on a bordered plane. Serpent grows by absorbing blinking points that are potential food that could be incorporated by passing through them. The goal is to prolong the snake as much as possible to cover as much space before it hit its own tail and close the loop which ends game. It is by using of serpentining as a delay tactic that one accomplishes this.

Similarly here, architecture uses serpentining as a delay tactic to prolong path of a user. Through serpentining space seduces user. It turns motion into a game, into a game of appearing and disappearing. Serpentining involves slowness, teasing in order to dispose, allure somebody to do something.

We could say, that what is meant by “to serpentine” is a kind of winding or turning motion of surface that provides indirect paths for achieving something. Serpentining of the mountain roads makes them easier to surmount. Serpentining here makes easier shifts in program.

Just as serpentining of mountain’s roads surmounts the mountain, serpentining of surface here surmounts the space by using kind of s-pace. By such motion pace can vary in size, surface is flexible enough to provide space adapted for the program needs. S-motion is that which opens space, that which creates sense of depth, of full and empty. As such it subsists in the silhouette of the object, it softens the edges of the object and makes something appear and disappear.

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