Easter Work

So far, over the Easter, I’ve been fairly busy trying to both get work together, whilst reading and making a chaotic journey to Berlin via home, which was great fun. I spent some time dragging a friend around various sites of historical importance like the topography of terror, Chipperfield’s Neues Museum, East Side Gallery, the Reichstag, and the more poetic forms of conservation, such as the Memorial to Murdered Jews, which plays on emotion and sensory elements. I found myself critiquing the rationale behind restoration and conservation throughout. The Neues Museum itself has many moments across time frozen and made obvious Its also a great city for use and reuse, as many buildings are generic, and very little is often given away by facade or form (except in few cases such as a bar built into an old swimming pool, with the lighting recessed into water inlets, drinks counters sat within spa pools. Cermaic tiles lined the walls so it was pretty interesting to see an establishment wear its history so proudly on its sleeve.┬áBars also┬ápaid homage to their former uses such as the farbfernseher, which merely named itself after the old tv store it appropriated, no reference was to be found architecturally which was disappointing.

Anyway, I worked on a few more drawings and read through both Fred Scotts’ on altering architecture, and Eric Gill’s an essay on typography, which could be useful in talking about changing conditions surrounding work. The first drawing is about current typologies, how form and technology have changed across the sites existence.

Elevations becoming

Using the example that Manijeh posted on the blog about the drawing that won the AA prize, I merged the different time periods as below. The black part on the right represents when time breaks and form across all secotrs, resi, commercial and industrial collapse. I think the grid will really affect the different elements and then just juxtapose with the collapse/ rupture on the right. I want to bring the overlay back in though through trace, so using different inks to overlay simple line drawings of the different axos in a book to contrast different uses and time periods. Different uses will be shown through people interacting with the architecture through their routines, again simple line drawings.

timeline dwg merged1


I also provided the residential element a bit stronger, actually modelling it as below. I feel that I I can now use this to create the overlay between all time periods, but I dont think that now the axo is the best way to do it. I will complete it, but I’ve been trying to learn revit so I can provide construction sections while showing the space inside, and I think this would work great in an overlay format with different colored inks.





The Atelier Bow Wow section below shows exactly how I would want to achieve the new overlay.






This is the second detail, the rack that moves up and down the building as discussed.



To be left

And also a drawing of the bare structure, the only bit that will remain unchanged in its entirety.




One thought on “Easter Work

  1. Your trip to Berlin sounds very interesting and like it was good for inspiration.
    I’m not sure I understand the graph where the different typologies come together – I see the building merging in the landscape orientation but the graph works in portrait and I’m not sure how the two subjects of the drawing come together – it would be good to show the relationship between the building, the time period and its use in this drawing and how they overlap/ merge but at the moment it still feels like two drawings overlaid not one.
    As for the axo, I think its good to complete it in terms of how the three different programmes come together in one building across time periods. In the past, its always been confusing because that one programme of living space – the artist’s studio has always been missing. I think its worth bringing them together and finding a way in the axo to draw the overlap or what they have in common.
    The Atelier Bow Wow drawing is a terrific precedent – they have such incredibly detailed drawings that talk about inhabitation, materiality, environment etc. Yours could be interesting in how you use the section to date parts of the building and then your details could be inserted in colour (as opposed to the rest of the drawing in line-work) to show that they transgress the different time periods and occur across time.
    I saw this project and it made me think of your project: http://socks-studio.com/2013/12/04/house-within-a-house-1-todoroki-residence-by-hiromi-fujii-ichikawa-1976/ as a more literal idea of building within buildings – even though you are constructing all these programmes and spaces and inhabitation that exist simultaneously, it should come across more through the architecture of this nesting of times and spaces – just thought it might help.
    You developed a really strong drawn aesthetic and technique in the first half of semester 2 so don’t lose that now as you move forward with the project – if you want to reintroduce the transfer technique see how you can build onto the existing drawing techniques and use the coloured inks to highlight aspects etc. Just don’t reinvent all the drawings.
    Looking forward to seeing the full set of details, the beginnings of your Atelier BowWow section and the completed axo showing the three programmes of industry, commerce and living space all combined with the details that are used between them.

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