Developed Surface
An experiment with drawing techniques; using the developed surface drawing as a design tool to aid plan, section and elevation layout.
Ano-Blog
Material 2010 - We are keeping a physical manifestation of our collective work in the form of The Analogue Blog. Each of us began by identifying our key driving factors behind our study and interests, and through continual evolution have begun mapping them together, beginning at the subject of Narrative, though working through such areas as; culture; environment; landscape; craft; curration; etc. Designed to grow as an organic forum that will map our progress as well as allow for a physical sharing of information and references, the Ano-Blog will be revisited weekly and videos will be completed every time that we, as a group, add to it.
MIND MAP 05.11.10 from Stephen McCullough on Vimeo.
MIND MAP 05.11.10 from Stephen McCullough on Vimeo.
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.
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]
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]
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...
-
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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