Abstract

This article charts the territories of the blueprint to inquire how it can become an artist blueprint and a model for artistic activity in Edgelands spaces (rural/urban fringes). It is a response to working with Rosalind’s Krauss’s horizontality, a spatial mapping method, and Gilles Deleuze’s theories on the diagram to propose how a diagrammatic approach can be used as artistic activity in Edgeland sites. Edgelands is a term introduced by Marion Shoard to define rural/urban-neglected zones that are unnoticed and undervalued at the edges of England’s built environment. The paper sets up a theoretical model as a continuing inquiry of art practice in Edgeland sites. An analysis of the blueprint articulates how it can become a tool for artistic activity and to propose that it could frame Edgelands through a processional spatial model rather than static works. The method is interdisciplinary, occupying the territory between art and architecture as a critical spatial practice. It considers how an architectural spatial model, as an artist’s tool, can act as a catalyst for further activity. The line as a mapping tool defines diagrams and can be extended as a diagrammatic drawing practice that centralizes the body in blueprint activity. I explore how this extends the possibility of the blueprint through procession, to extend authorship, to propose a processional schema. Therefore, this paper discusses the nature of the model as a result of working in Edgelands, to propose a procession of activity as an archi-spatial model.