This collaborative installation grew out of a site specific exploration of both the entrance to the house and the front porch. By an unusual shift in one’s sightline before entering the house, Taghavi and Burtonwood delay the experience of passage from one place to another. The installation consists of two parts: four acrylic mirrors are mounted above the doorway, originally designed by architect Arthur Woltersdorf in 1910. These panels extend away from the ornamented entrance and arch over the viewer’s head. The uncanny visual experience of the concave mirrors dislocates one’s perception of their body in relation to itself, and to its surrounding. The body centers, doubles and disappears, while its image is caught between what is behind it and what is before it. In this sense, the street, the garden, and the porch appear on the same plane where the reflection, by its infinite play, slows down the the body before stepping forward. The space of transition, therefore, becomes a place of lingering.
Window, on the south edge of the porch, replicates the floral concrete relief (allegedly designed by Richard Bock) that surrounds 6018North's doorway. The synthetic material of the "new" flower fast forwards the ornamentation to the present, overlaying the stable modernist structure with an organic form, highly receptive to wind and light. The transparent orange and blue flower draws a line to the house next door: the light reflects into the porch during the day and at night casts a shadow on the neighbor’s brick wall.
This project, in contrast to the iconic Chicago architectural ornamentation, proposes a fragile intervention onto the secure structure of the building to draw attention to the existence of itinerant lives and qualities inherent to it.