Outpost 260622
CYANOTYPE SUN MAPPINGS/DRAWINGS
Jonathan Crary, Techniques of the Observer.
Adam Nicolson, Sea Room.
Rebecca Solnit, Wanderlust. A history of Walking.
Site/Regional Specificity/Local Memory.
SKIN, SURFACE, SUBJECTIVITY.
Insistent moments of alienated encounter.
Harriet Katherine Riches.
MATTER AND MUTABILITY
PRERSENCE AND AFFECT
Jane Grant.
AFFECTIVE ABSTRACTIONS
INTERMEDIARIES
CONSTITUENT PARTS
SPILL
IMMINENT REVELATION
EXPOSURE
NAMING THE LIGHTS
AFTERWORD
Garry Fabien Miller, Ian Warrell, Richard Ingleby.
The solitary artist literally at the edge of his environment and in a state of profound meditation about our place in the wider cosmos.
As if seeing herself from the desolate distance of a star, Woodman looks back through the alienating photographic lens of displacement and memory, her print the surface upon which she conjures an impossible moment of beautiful fusion.
Those still involved in defining photography as an art are always trying to hold some line. But it is impossible to hold the line: any attempt to restrict photography to certain subjects or certain techniques, however fruitful these have proved to be, is bound to be challenged and to collapse.
For it is in the very nature of photography that it be a promiscuous form of seeing, and in talented hands, an infallible medium of creation.
ON PHOTOGRAPHY.
Susan Sontag.
SPAB.
Building Conservation/Casework Campaigning/Innovative Research/Immersive Training Programmes/Working Parties.
Climate Action/Built Heritage.
Jacqui Donnelly, Spring 2022.
Traditional buildings are defined as those built with solid masonry walls, single-glazed timber or metal framed windows and timber-framed roofs usually clad with slate or tiles.
One of the most effective ways of increasing the resilience of our historical structures and sites is the application of good conservation practices.
Traditional materials and construction techniques allow for the natural transfer of heat and moisture and relied on the thickness of the walls to cope with atmospheric moisture. It is therefore essential that all materials and finishes, including mortars, renders and plasters, used on traditional walls are vapour-permeable to allow this movement of moisture to continue.
Proactive Maintenance
Repair Programmes
Upgrading through repair and adaptation.
Mitigation
Courses in traditional rural trades and crafts, Weald and Downland Open Museum.
The SPAB has made sure that the project not only repairs the mill but integrates public access and education into the process.
The scaffold design has allowed public access visits for the local community and students, offering opportunity to view the work while underway.
Douglas fir weatherboards
Vmzinc roof covering
Insulating Render, Cornerstone.
Developing a scheme that endeavours to fit a three-bedroom house into the existing footprint of the mud cottage and adjacent outbuilding,with some overspill into a new circulation space that connects the structures whilst clearly retaining the legibility of the existing modest forms.
INHABITATION, the inter-dependence of mankind within socio economic frameworks.
Vernacular Concerns/Folklore/Heritage and Fabric of Buildings.
TONALITIES
BUILDING MATERIALS
THE POETICS OF SPACE
Gaston Bachelard.
Italo Calvino, Mr Palomar.
The numbers 1, 2, 3 that mark the titles of the index, whether they are in the first, second, or third position, besides having a purely ordinal value, correspond also to three thematic areas, three kinds of experience and enquiry that, in varying proportions, are present in every part of the book.
Those marked 1 generally correspond to a visual experience, whose object is always some natural form; the text belongs to a descriptive category.
Those marked 2 contain anthropological elements, or cultural in the broad sense; and the experience involves, besides visual data, also language, meaning, symbols. The text tends to take the form of a story.
Those marked 3 involve more speculative experience, concerning the cosmos, time, infinity, the relationship between the self and the world, the dimensions of the mind. From the confines of description and narrative we move into the area of meditation.
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