Korean render ghosts
Bridle’s search for the lost ghosts, the architectural spectres wandering the renders of our possible futures, had all but failed. His project had been shown around the globe, he’d gained glorious reviews in the pages of art journals and magazines, his ghosts had been discussed on many a panel. However, none of ‘the originals’ had been located.
There had been the odd false hope; a mythical photoshoot in albuquerque, a photographers convention in Milton Keynes, but the trail always went cold. He’d been approached by people claiming they were an original, but it didn’t take long to dismiss their claims. The ghouls, as he called them, went to extraordinary lengths to convince him. They dressed up in similar clothes, posed in the same positions, they’d even been known to return to the construction site where their hopeful ghost image had once occupied; placing their flesh bodies into, yet another, distanced layer of our hyper real existence.
It wasn’t until he returned to Korea, that he discovered where the ghosts had come from. After a particularly poorly attended lecture, an elderly man approached him and reprimanded him for accessing ‘the unknown’. The ghosts that he’d been searching for would never appear. The man claimed they’d come from ancient space, a pre-architectural world of possibility. Their projection into the render world, somewhat akin to Edwin Abbott Abbott’s Flatland, was to discover whether architects had evolved since their last contact. Sadly, the man said, they still felt us too primitive in our spatial practice to materialise, they’d returned to the unknown to wait out our spatial puberty.