Thesis Positioning...
A copy of the slide that will be presented alongside a verbal explination of my intended direction for fifth year...
I was hoping for a full view of the photo montage of the stablehouse which is part of the estate I intend on documenting as part of my thesis, however had to stick to the group layout! Originally designed in 1720, as a grand estate with a full manorhouse, folly, stablehouse, pigeries, walled gardens and canal Cammo was and is a very important place worked on by influential architects such as Robert Adam. Owned by an exccentric recluse throught the 20th century the estate began to fall into disrepair and after his death in 1971 became empty. A large fire ripped through the house in 1977 destroying many important antiques and the estate was gifted to the national trust. Edinburgh Council took ownership in 1980 and the descision was made to demolish what was left of the house because it was so unsafe. The antiques were all auctioned. Since then nature has been allowed to reclaim what has been left - doing so at an alarming, though beautiful, rate.
The Experience of Memory
The first entry... [Bare with me]... This is all very exciting!
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An experiment in finding my own architectural and personal position(s).
It all began with an obsession with the idea of space and/or place that is moulded by its users. Dance studios clad with zinc; copper ballustrades; the door handle; the push pad - all literal representations of the idea of the traceable habitation of place through the use of materials that will react over time depending on touch, or the 'handshake with the building'.
Richeal Whiteread; Aldo Rossi; Carlos Scarpa; Gareth Fisher; and Louise Beorgouis to name but a few of those whose work would come to alter my direction for the past 18 months. Their own beliefs in detail, position, making, archiving, drawing and mapping provoked and altered mine: experiments with casting and sculpture became an excersice in designing an exhibition piece which in turn informed the rationalistion of the design of a Community Arts Centre in the city centre of Edinburgh, culminating in a series of designed exhibits of work with common threads. This, however, was to be merely the beginning.
Moving on has never been a case of "moving on": merely another investigation, another direction or a different position surrounding a common theme of tracing habitation and the narrative of life.
How can we appropriatly design for the future without understanding our past? Aldo Rossi notes that "...it is the skeleton which bears the imprints of the actions that have shaped a city".
His words have become so ingrained in the way I consider that they have set up a new project: the documentation of a ruined estate on the outskirts of Edinburgh. Watch this space...
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An experiment in finding my own architectural and personal position(s).
It all began with an obsession with the idea of space and/or place that is moulded by its users. Dance studios clad with zinc; copper ballustrades; the door handle; the push pad - all literal representations of the idea of the traceable habitation of place through the use of materials that will react over time depending on touch, or the 'handshake with the building'.
Richeal Whiteread; Aldo Rossi; Carlos Scarpa; Gareth Fisher; and Louise Beorgouis to name but a few of those whose work would come to alter my direction for the past 18 months. Their own beliefs in detail, position, making, archiving, drawing and mapping provoked and altered mine: experiments with casting and sculpture became an excersice in designing an exhibition piece which in turn informed the rationalistion of the design of a Community Arts Centre in the city centre of Edinburgh, culminating in a series of designed exhibits of work with common threads. This, however, was to be merely the beginning.
Moving on has never been a case of "moving on": merely another investigation, another direction or a different position surrounding a common theme of tracing habitation and the narrative of life.
How can we appropriatly design for the future without understanding our past? Aldo Rossi notes that "...it is the skeleton which bears the imprints of the actions that have shaped a city".
His words have become so ingrained in the way I consider that they have set up a new project: the documentation of a ruined estate on the outskirts of Edinburgh. Watch this space...
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