Transferring Materiality, Form, Spatial Order and Function

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.

column + partition


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.

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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.

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One thought on “Transferring Materiality, Form, Spatial Order and Function

  1. I am intrigued by the introduction of the church. Last term we spoke briefly about the church, cathedral especially, as usually being an architecture that is a composite of time – as they can take many generations to be built to even an initial idea of completion, and tend to show evidence of continued alteration and addition. I wonder if it is these factors that have brought the church into your project but you will need to explain the relationship of the church to your site or project, even if it is just a conceptual tool for furthering your design work. Are you looking at a particular church or is it a generalized church rendered suitable to communicate its use to your project – a composite church itself?

    It is good that your mapping of durational space is moving from a method of surveying to a potential for identifying a tangible strategy to express durational time in space, which seems to be the first stage of your aim. My first question in response to your drawing would be, why are all the planes defined vertically? It will be interesting and important here to think of what is creating your time, are these sequential spaces demonstrating the durational time of occupying the space or creating the space (such as the delineated phases of alteration and addition that you identify at Jay Street)? I think your interest lies in the latter but realise that there are other producers of time in the movement through (I am sure that you do).

    I would like to know more about what the grid is doing for you. The grid is useful for creating order and relationships (or exposing lack of) but in this can be reductive. The grid is a fabricated order, can you create an order for this use from what you have? Such as the ‘grids’ that you begin to identify through the intersections of your planes or the evident phases of change at Jay Street.

    This is good progression in visualizing the theoretical ideas that you are working with. How will you proceed now to apply these strategies to develop your project brief?

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