By exploring not a tightly woven ecology (Ash, 2010) but instead the irresolution of the fragment with the whole, I seek to expand scholarship on affective spaces that at least contrast with the rhythms of hegemonic performativity, if not support their more thoroughgoing interruption.
After taking the doings of humans and objects to their theoretical extremes, 1 introduce a baseline or contour for my investigation of the GBQ by focusing on the capacity of baroque tensions to solicit delight and encourage looking, feeling(s), and thinking characterized by the irresolution of the detour.
Venturi argues that irresolution turns the subject toward the accommodation of "mature" human life (Venturi, 1977 , page 16) and everyday experience (page 20).
In the second half of this paper, I set aside these more ambitious capacities of architecture and instead focus on the role of ambiguous images and forms in stimulating delight, and a style of looking, feeling(s), and thinking distinguished by irresolution.
The library patrons' experiences of viewing the exterior, drawing closer to it, and going from inside to outside evidenced an oscillation from coherence, stability, massiveness, and the expected toward irresolution, elusiveness, movement, contradiction, detail, mystery, and surprise.
To the extent that memories of "important" passageways or institutions, a more-than-representational "feel" of transition or in-betweenness, or simply attention to footwork percolated into consciousness, the staircase appears to promote irresolution (in addition to mobility), and a detour, a different rhythm of practice, emerged in the GBQ.