Interesting

Following my previous post and my posotion for the year...
I intend to investigate the problem of historic sites in Britain [specifically referencing the Cammo Estate outside Edinburgh] and consider how, as architects, we handle these sites. My position comes in reference to the theories of Sverre Fehn and other 20th century architects, artists and buildings [specifically the Nieuw Museum, Berlin (Chipperfield)], and in reference to my own beliefs, whilst at the same time considering the problems presented by the strict planning laws surrounding such sites nowadays, as well as in the sentimental value associated within an area.

Upon visiting the Museum of Architecture is Oslo and seeing the historic hand drawings of Christian Heinrich Grosch and the detail found within the ink and watercolour drawings, I was hooked. Couple this with a drawing discovered at the RCHAMS by William Adam which was a plan proposal for Cammo House [in similar style to Grosch's drawings] and my starting position was formed.

I intened to use drawing as a means of investigation towards the realisation of how to handle such delicate areas. The level of detail involved in mapping each brick, flake of plaster and tree will deepen the understanding so far as to hopefully set up discussion for further study.Setting up a series of drawings in the classical style is the first step.


The following video is titled "The Three Classicists" by Francis Terry and is just cool...
I would love to try and draw something like this.

The Three Classicists from RIBAJournal.com on Vimeo.

October

So far into the year my time has been spent establishing a position in relation to interest and looking deeper into initial thoughts. I am continuing the thread of experiencing memory and also continuing working on the site at Cammo Estate, whilst studying the throeries of Sverre Fehn [and his ideas to do with curation and the life of a building], the work of Rachel Whiteread and her influences, as well as [newly] Jack Coia and his work. All of these professionals have different views on the manipulation of 'the object' against time; Fehn contemplates the reality of the life of the object, the space and of time, whilst Whiteread considers the death of the object and subsiquently how this then becomes the artefact. Coia's views are somewhat different altogether, however I'll admit I must do some more reading before I can comment openly...

By questioning the modern museum Fehn sets up an interesting argument... He discusses his dislike in the curation of objects in a manner whereby it is placed within a 'cage' essentially sealing it from the open world and thus ending it's life. There is no connection with the outside and the opportunity to continue the life of an artefact is removed; there is no continuation or evolution in the story of existance.  [discuss]

Looking specifically at the project 'House' as a reference, Whiteread's position to the Object can be identified. Here she filled the interior of a house due for demolition with concrete as a means of mapping the life that was once existed within, whilst traces of wallpaper were caught on the relief. In the instance of House,
Whiteread is uninterested in keeping the building standing: instead the idea. By mapping the existance of what was she has echoed the memories of decades of everyday life whilst at the same time turning this map into an Artefact to view. [discuss]