The true state of the Icon is the fragment as its identity is created when and how it is referred to.

The icon is not comprehended via its singular, localised form but in its referential form. The impact of an icon relies on how well it refers to itself. The references become the key moments that construct the story of the icon. The omni-presence of an icon is achieved in its fragmentary state. Therefore, the iconic state is the fragment.

A Fragment is a record or trace of something that HAS existed or WILL exist.

A Fragment refers to an absent whole. A fragment carries the specific information of the absent whole.

The story of the whole is constructed through its key moments.

A fragment is the foundation of a constructed reality.

FRAGMENTS THAT ARE STOPPED AND FLATTENED ONTO A PLANE:

THE IMAGE

Fragments are carefully composed in a particular way towards a single viewpoint. The worlds are not representations of a reality but a construction of one. These fragments define the graphic space and a reality is constructed within the picture plane.

VIEWPOINT

The viewer has both an inflexible and privileged viewpoint. The viewpoint is fixed because it is determined by the image author.

BEHAVIOUR/ARTICULATION

The fragment refers to an overall plan or arrangement that it sits within yet also articulates itself with its own separate behaviour. Therefore, a dynamic space is created.

The Anchored fragment: this fragment is tied to its origins but also wants to move away from it.
         It is grounded, and heavy and you can see where it sits within an overall spatial organisation. But if it wants to move, what it is tied to has to move also. As a result, the plan is rotated and warped.

The Unattached fragment: this fragment is independent of its origin but could return

to it if it wanted to. This fragment only shows you certain sides of itself. It resembles its origin but always makes a   
            point of showing that its different. As a result, the elevations of the volumes are disconnected and are shifting. The plan is flipped up towards the viewer. Parallel lines vs converging lines.

The Merging fragment: this fragment camouflages itself into any position. It is a corner that flattens flattens itself onto a plane.

The Shattering fragment: when this fragment impacts with a fixed object it shatters it and its shards embed themselves into other volumes.

The Interconnecting fragment: this fragment looks for edges where it can fit its own edges into

perfectly. Regardless of what orientation it is, its edges will always fit in place.

The Expanding fragment: this fragments starts of singular but starts to steal parts from its surroundings and these parts begin to talk the same language as the fragment.

FRAGMENTS THAT ARE VOLUMES THAT ARE CONTINUALLY READJUSTING THEMSELVES:

SPATIAL

The fragments cause the space that you engage with to slip in and out of place, to emerge and to recede. Distances are no longer measurable. The position of the ground plane is unreliable

VIEWPOINT

The viewer is roaming. There is no single viewpoint as it constantly changes in relation to the movements of the viewer.

ACTIONS

As you walk, a fragment jumps between being an object and an enclosure. But it is always open.

As you leave, the faces of the buildings detach themselves and follow your lead. Then they settle back into the fabric again.

SITE: CITYSCAPE

The fragment’s role is to rebuild the city’s story. Fragments of a fabric are taken for granted as evidence to corroborate a story. By referring to something that is missing, the fragment defines it.

The scale of the fragment jumps between two scales: local reading (as an object) and distant reading (as a face against the backdrop of the site’s fabric.)

The fabric of a city is read as a context: it is a continuing story. The fragment is kept as an essential, the definer of how anything new surrounding it will be arranged. Ambiguous continuities, ambiguous edges. Space as the “middle region between the already encoded eye and the reflexive knowledge”. Michael Foucault