This refers to Richard Goodwin’s gallery practice which is devoted to experimentation with the body and minimum architectures. These minimum or small architectures are architectural propositions which defy human habitation. They are analogous to the outer shells or casings which protect insects. Exoskeleton works suggests the poetics of a symbiotic relationship between body and technology.
The metaphor of the parasite is useful in transferring the site of site-specific artwork to the skin of architecture, with- in projects of transformation. The notion of parasite builds on the dissolution of the existing. autonomous building. It must be remembered that not all parasites destroy their hosts; some are symbiotic in nature. Either way there is a tendency towards transformation.
The art/architecture of prosthesis involves the attachment or insertion of parasite projects to or in buildings. Hence the term prosthetic in relation to the idea of attaching a new proposition, which responds to a perceived lack.
This term is based on my notion of the permeable edge that exists between public and private space and refers to the scale of the city. Amalgamating the concepts associated with exoskeleton parasite and prosthetic, porosity is an assessment of the way in which the public and private realms can be made to mesh. The desired outcome of this re-envisioning of public space has led to a methodology for the production of new linkages, which help to make three dimensional the reality of public space in the city and the dissolution of architecture.