The first thing I managed to do in furthering the drawings demonstrating theories on time, is to map durational space. The spaces below reflect the traditional, Bergsonian space that Bachelard was rallying against. They present a series of spaces which could be taken a sequence of states. Visual connection between all spaces is undisturbed, however, each space is delineated by form, with recesses, extrusions and framing devices forming planes. So it can be taken that this space is continuous, space unfolding into space, state into state sequentially.
The question now is introducing discontinuity into the space, Bachelard’s instants. I think the transfer technique and the use of juxtaposition and contrast could express temporal mutation quite well through employing it as a language, and underlying structure.
Working more on the transfer technique, the ideas embodied within the process and the result have informed the design process. The idea of the tension between the different mutations within the building, the temporal links, actively demonstrating a process of becoming, of birth and rebirth, the affirmation of life that occurs within the instant is a really interesting one. The transfer process allows for numerous images or states to coexist simultaneously with little visual obstruction. So this process can be used to demonstrate juxtapositions between different spatial orders, grids, and uses, as demonstrated below.
Each element of the architecture, spatial grid, materiality, form, all allude to different uses. So as above, the form and scale of the grid of the house conflicts with that of the church. So if we transfer the qualities of the domestic architecture to the church in this way, through the implication of a grid, we can possibly introduce conflicting elements through phenomenal transparency, ie. using forms to create planes which relate to conflicting meanings and uses. The below image shows the introduction of domestic elements at a domestic scale to create a plane with domestic associations within the cathedral. The image is actually part of a 3 part acetate image.
Introducing these planes of phenomenal transparency can be done through details. Introducing new forms such as internal partitions (as found on 68 Jay Street in the form of new offices), transferred onto old materials, and likewise new forms transferred onto old materials. Below shows the attempt to signify the juxtaposition of grids (which actually occurs on Jay street, with irregular layouts conflicting with rectilinear grids) by introducing a partition detail onto an existing column. This drawing is actually a two part acetate drawing.
Here the material form of 68 Jay Street is overlaid with its functional counterpart. The use of transparency allows simultaneous perception and allows for metaphor, and ambiguity, as is found within the instant.
I forgot to mention in last nights post that the base for the acetates is done, and now several acetates can be positioned on it more effectively demonstrating the separation between the instants, while also allowing for them to be viewed continuously. It just consists of a series of slits into which acetates are placed and support themselves upright.