Interiors/UCA Farnham. 2014
THE ARCHITECTURE OF NATURAL LIGHT, Henry Plummer. 2009 THE OTHER ARCHITECTURE, Constructing metaphysical space.
Catching The Light.
The Entwined History of Light And Mind. Arthur Zajonc
EVANESCENCE
Orchestration of light to mutate through time PROCESSION
Choreography of light for the moving eye VEILS OF GLASS
Refraction of light in a diaphanous film ATOMIZATION
Sifting of light through a porous screen CANALIZATION
Channelling of light through a hollow mass ATMOSPHERIC SILENCE
Suffusion of light with a unified mood LUMINESCENCE
Materialization of light in physical matter
ADVENTURES OF THE FIRE, VESSELS THROUGH TIME CERAMIC GATE
“The existing architectural environment is thought to be more or less official through the hierarchical arrangement, providing an rigidity to the public. The base for a creation is a freedom and I proposed an asymmetrical form for the gate to break the official space, bringing an atmosphere for freedom of creation. ”
Jung-mook Moon. CERAMIC PAVILION
“People make space, and space contains people. ” Seong-chil Park. (Exhibition Space Designer)
PALIMPSEST AS REMAINS OF A CREATIVE PRAXIS STUDIO SPACE AS A PHILOSOPHICAL WORKSHOP
PALIMPSEST IN ARCHITECTURE
“Architects, archaeologists and design historians sometimes use the word to describe the accumulated iterations of a design or a site, whether in literal layers of archaeological remains, or by the figurative accumulation and reinforcement of design ideas over time. Whenever spaces are rebuilt or remodelled, evidence of former uses remain. ”
Wikipedia
RODIN AND BEUYS
THE ALCHEMY OF BUILDING WORKING PRACTICES
RUINS, REDUCTIONS, and the LOSS of SUBSTANCE.
FRAGMENTS, ASSEMBLAGES and INTERIORS that re-enter the world of creativity.
The Theatre of Research is a working space that creates and crafts both theoretical and practical objects, things and documentation. Its reason for being is to explore the praxis for creative narratives between the Arts and The Humanities. It attempts through performance, fine art and architecture to collage qualitative and diffractive dialogues into new relational discourses, the results of which become exhibited or staged as open workshops engendering praxis, publication and production. In its fledgling state it is seen as being part of a University faculty that has interests in the Arts and The Humanities.
We have art so that we may not perish by the truth. Friedrich Nietzsche Can one achieve architecture without resorting to ‘design’? What if, instead of designing a new building, you keep the one skated for demolition? How do you insert an original program inside the old and new structures simultaneously? How do you reconcile coherence with multiplicity? Bernard Tschumi 2012
PROGRAM. Tschumi, Le Fresnoy: Architecture In/Between, 1999/2012 Architecture was no longer an autonomous and isolated discipline but participated in the movement and confrontation of ideas. Tschumi, Red Is Not A Color. 2012
Questions of Space
Abstract Mediation and Strategy
CREATIVE AUDIT of RESEARCH TOPICS The Craftsman, Richard Sennett. 2008
“Making is thinking, the good craftsman uses solutions to uncover new territory; problem solving and problem finding are intimately related in his or her mind. For this reason curiosity can ask, “Why" as well as “How " about any project. ”
Prologue: Man as His Own Maker CRAFTSMEN
The Troubled Craftsman The Workshop Machines
Material Consciousness CRAFT
The Hand
Expressive Instructions Arousing Tools Resistance and Ambiguity CRAFTSMANSHIP Quality-Driven Work Ability
Conclusion: The Philosophical Workshop BRICOLEUR BRICOLAGE, Barkow Leibinger. 2013
“Bricolage indicates an approach that is inclusive, ie open-ended, and can come either from within architecture itself or from external sources. ”
CASTING WEAVING
FOLDING BUNDLING PRINTING ANTICIPATING
FROM MODELS TO DRAWINGS, Marco Frascari. 2007 CRITICAL STUDIES IN ARCHITECTURAL HUMANITIES
THE WAVERLEY PROJECT
Imagination and Representation in Spatial Practices (Architecture, Fine Art and Performance).
Historical Perspectives Emergent Realities Critical Dimensions
CRISTINA IGLESIAS Guggenheim Museum 1998
“Concrete and iron, glass, yellow, terracotta and tapestry, aluminium and photo etching, leather and amher glass, wood, resin and bronze powder, blue glass and alabaster. ”
Introduction, Carmen Gimenez
Screen Memories, Nancy Princenthal Stained With a Pale Light, Adrian Searle Wanting Shelter, Barbara Maria Stafford
CHRIS WILMARTH. 1986 Delancey Backs (and Other Moments)
Etched float/polished plate glass, steel and bronze, blown glass.
BURNING ISSUES AND PRACTICAL CONCERNS
THE READING ROOM
The Neo-Romantic Vision from William Blake to the New Visionaries.
‘A new alchemy is being formed which encompasses traditional methods of art, the new technology, and the revolutionary new scientific discoveries.’
Re-Enchanting the Land. (Woodcock,2000:140)
‘When one lacks outer space one creates inner space. Invention becomes more complex, cup and circle markings on stones, intricate Celtic spirals and knots, illuminated manuscripts, gothic architecture with its inherent story telling.’ (Woodcock,2000:131)
Reading The Landscape.
What distinguishes Neo-Romanticism from traditional romanticism is the feeling of danger, the juxtaposition of the urban with the countryside, the element of darkness, dissolution, an almost pagan reverie breaking through the ruins of post-industrialism. (Woodcock,2000:55)
Radio On by Chris Petit.
The film has a hallucinogenic noir-like quality, a weird hybrid of Fifties Americana and a displaced Britain. It is a seismographic disruption of British culture in a limbo land of displaced dreams, elements of an almost mythical Britain fleetingly appear. (Woodcock,2000:115)
England Dreaming.
Throughout John Piper’s long and prolific life he remained fascinated not only with churches, country houses and landscapes but also ancient sites. He comments on the landscape of Snowdonia, ‘Each rock lying in the grass had a positive personality, for the first time I saw the bones and the structure and the lie of mountains, living with them and climbing them as I was, lying on them in the sun and getting soaked with rain in their cloud cover and enclosed in their improbable, private rock-world in fog.’ Piper never dismissed the archaic spirit of place.
(Woodcock,2000:31)
The small ‘Scriptorium’ conceived as a space as a refuge, an intimate minimal construction that features a doorway and an interior that contains a place for objects, perhaps books, as well as a small sitting area. This construction, an open cell perhaps is evocative to a state of contemplation between the fabric of the everyday.
WATER AND DREAMS
AN ESSAY ON THE IMAGINATION OF MATTER Gaston Bachelard
Viscosity/Water in Combination.
Tacit and intimate contact, relationships and encounters between water and the potter. Water is his/her first auxiliary.
WORKING NOTES for InDESIGN Document/Mood Board.
Old Buildings/New Designs: Architectural Transformations. Charles Bloszies. Knocktopher Friary is a quiet place of contemplation. The new residential cloister unifies the friary and the church. The composition of the architecture is a knitting together of two original forms with a ribbon of concrete, glass and wood. The new buildings are crafted from a minimalist vocabulary where the palette of materials was kept to a minimum. One of the interesting design features is that the new elevations never touch the old facades with a solid-to-solid intersection; the new is either set back from the old (Ashley Castle) or the joint is glazed. The existing church floor is used as both a datum for maintaining the new floor level in the new construction, and as a vein of closely controlled changes of materials and finishes. The resultant architecture is played between subtle material exchanges of concrete meeting wood, concrete meeting glass, and concrete meeting concrete with slightly different surface qualities. What results is a clear differentiation between the old and the new, both are remarkably quiet architecturally reflecting the concerns of the site as a Carmelite monastery in the southeast of Ireland.
Working Thoughts
The Phenomenology of Reading. GLAS, Derrida Literature and Language.
Barbed Nature, Pierced Flesh. Graham Sutherland 1903-80
He never worked in situ but collected information to be worked on in his studio. The detailed sketches and notes he had made when through a transition in his mind before the final painting, culminating therefore in an inner landscape rather than a factual rendition.
These landscapes were no idyllic reverie but evoked a sense of the mysterious and dangerous. In many ways they emitted a foretaste of the approaching Second World War. (Woodcock,2000:25)
Ruins, Shadows and Moonlight. Elizabeth Bowen
“It is a fact, that in Britain, and especially in London, in wartime many people had strange, deep. Intense dreams. We have never dreamed like this before; and I suppose we shall never dream like this again.” Elizabeth Bowen.
The awareness of the social changes which broke through wartime society is evident in her novels and short stories, the feeling of boundaries being broken, physically, psychologically and also on a spiritual level, where the sense of the living and the unaccounted dead, caused by the bombing, mingle. Her evocative descriptions of the quality of light, the particular smell of a room, of a garden after rain of walking over charred wood and broken glass following an air-raid, and even the effect atmospheres have on the individual all contribute to evoking a strong sense of place. She is a master at conjuring up the minutiae of the everyday world and the presence of another dimension. (Woodcock,2000:74-75)
Rogue Male. Geoffrey Household.
The novel evokes the solitude of the landscape as it was before the advent of the mechanisation of farming and the availability of the countryside created by the growth in transport of the following decades. (Woodcock,2000:77)
Tn the heart of this hedge, which I had been seeking all the way from London, the lane reappears. It is not marked on the map. It has not been used, I imagine, for a hundred years. The deep sandstone cutting, its hedges grown together across the top, is still there; anyone who wishes can dive under the sentinel horns at the entrance and push his way through and come out in a cross hedge that runs along the foot of the hills. But who would wish? Where there is light, the interior of the double hedge is of no conceivable use to the two farmers whose boundary fence it is, and nobody but an adventurous child would want to explore it.’
Geoffrey Household, Rogue Male 1939.
The Stride of The Mind
Reading Rooms. Figuring Space. Text/Fumiture/Dwelling Reading with Paths
Relativity through Walking and Thinking. Subjectivity. Space - Politics - Affect
Waverley Abbey. Cistercian Monastery
The peculiarity of the ruin is defined in that it demythologises the impression of seamlessness and linearity. In the ruin, we are at once removed from dichotomised and levelled down space by entering a place at the threshold of experience. At the threshold, we return to the pre- spatial, if primordial, landscape, yet to submit to the suppression of space and site. Instead the place of ruin creates protrusions, which desolates the category of clean space.
The Aesthetics of Decay, An Uncanny Place. Dylan Trigg
Scarpa, extensive use of concrete with different aggregates and finishes.
Ashley Castle, restoration of ruin into a domestic dwelling, sensitive use of materials and methods of joining or revealing the historical fabric (allowing the ruinous to remain visible) of the building.
The Dovecote Studio, a building made of CORTEN steel built within the interior of a ruined Victorian dovecote (see further notes).
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