Tim Ingold : Textility of Making/Hungate Clay Drawings/Speculative Constructions/Interior Design Theory

The House is all about the poetry of shelter and siege from the elements and cosmos.

Gaston Bachelard.

In And Out Of Material. 2007.

Tony Cragg.

All our senses scan the space in front of us; the future, in both a literal and metaphorical sense, lies before us.

Clay, is always a working idea, a matter/material process between things, a form of thinking in process.

Clay-Drawings in volumes, void spaces and surfaces.

Presenting a building as a process rather than an object; a process which continues from the initial conception phase throughout its existence via construction and occupation

Tim Ingold.

Textility of Making, 2020.

https://issuu.com/oliwkaka/docs/publ_ver_15_publish_fin

Building Materials/Brick Form/Buttressed/Tower/Scaffolding

Corten Metal Box Constructions.

Components brought into a spatial form/navigation/exploration of built spaces.

Building as drawing, showing changes taken, marked, erasures, superimpositions, indexical and scored surfaces.

Materials marked, moved and redeployed elsewhere.

Poche/Pierced Walls/Architectural Details

Lead tray/Water/Ceramic/Wooden Wedges.

Making Template/Drawing/Pierced Components

Hidden Spaces/Enclosed/Confined Volumes/Voids

Experiential/Spatial Alterations to the drawn plan as the building commences. 

St Peter Hungate

Norwich.

A History of the Church.

Geoffrey Goreham, Rachel M. R. Young.

1965.

This sketch by John Kirkpatrick, who died in 1728, is the earliest extant picture of the church.

John Bonde also left 6d, to the anchorite of St. Peter Hungate. This  was a man vowed to live a religious life in solitude. An anchorite's cell was often built against the church wall with a connecting window, so that he could hear Mass and yet remain secluded.

The pyx and the metal box or chrismatory (mentioned in 1368) which held the consecrated oils were also locked lest the holy wafer and oils should be stolen and used in witchcraft.

Monochrome by James Sillett, 1828.

Space-Enfolding-Breath.

Monica Wyatt.

Towards a New Interior.

An Anthology of Interior Design Theory

Lois Weinthal, 2011.

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Drawing Surfaces : Situated Knowledges/Constructing Atmospheres

Outpost 120123

Constructing Atmospheres/Test Sites for an Aesthetics of Joy.

Margit Brunner. 2015

https://issuu.com/aadr_publishing/docs/constructing_atmospheres_s

Red Is Not A Colour

Architectural Concepts

Bernard Tschumi

What role does the audience play in the definition of a provocative project?

What are the ways in which I want to construct my world?

The in-between chapters that reveal his underlying beliefs and influences. From movies to built spaces or from art pieces to historical events, a melting pot of his imagination. This is where we understand what Tschumi means by his endless questioning  of the world and what the architect's contribution could be.

Antoine Vaxelaire, AA 5th Year. 2013. 

Marking The Line

Ceramics and Architecture.

Christie Brown, Carina Ciscato, Nicolas Rena and Clare Twomey in response to Sir John Sloane.

Cathected

Aesthetic Phenomenon

Aesthetic Causality

Sensual Object

Allure

Graham Harman reminds us that moments of allure, the fusion of always accessible sensual qualities onto a reified sensual object, are ontologically special experiences, but they are very common in human life.

Architecture articulates our experiences of being-in-the world.

The very essence of the lived experience is moulded by hapticity and peripheral unfocused vision.

Pallasmaa. 2005

The simple complexity of the sensibility found in textures and the drama of shadows.

Developing natural aptitudes through the sense of touch.

The senses considered as perceptual systems are defined as a haptic system in which the sensibility of the individual to the world adjacent to their body and by use of their body.

J Gibson. 1966

In some cultures, the senses of smell, touch and taste have collective importance for memories, behaviour and communication.

Indigenous clay and mud constructions, with their plastic properties, seem to be generated more from the haptic senses than the eye.

Hapticity and Alvar Aalto's Architecture.

Sam Barnham.

David Abram, The Spell of the Sensuous. 1996

Juhani Pallasmaa, The Eyes of the Skin. 2005

Juhani Pallasmaa, The Thinking Hand. 2009

Gaston Bachelard, The Poetics of Space. 1969