So I continued with the perspective section and I wove it into the ideas about stripping back I had (stripping back is interpretation as to what is essential). So in using the instantaneous investigation method as defined in the first semester, each space is to be shown as existed at a fixed point in time (each at 9am over the years). The use of the section allows me to show the construction which is quite good as technological advances and responses to neccessities can be highlighted. I think the annotation needs to become a bit more human though (highlighting what needs necessitate which changes). Also these arent entirely finished as theres bits of construction not completed.
As for the third detail, the idea works in my head, the telescopic opening which can react to every instant as described. The artist pulling materials in, the production line worker shipping goods out by cart, the bankers using a revolving door etc. It just needs a few hours to be modelled.
I also wrote this as a list focussing more on connections between occupants and their material changes (windows walls etc.) and what they meant for each person. The building affected people in these (speculative) ways, and so the building changed to either facilitate or manipulate these effects. I feel its all valid in the buildings mutation:
1915: The sun rises at 7.30am, 2 hours after Joseph De Graff began work at the Grand Union Tea factory. The orange glow of the rising sun permeates the spaces, throwing the bare masonry interior walls into soft relief. For Joseph, this not only signals that his job will become slightly easier with the impending daylight, but that the day also stretches out long before him.
1975: Patrick Slater is making up his overtime at 7.30am, the large square windows the Brown Brothers bank have fitted let a huge amount of light in from across the horizon, bouncing off the white washed plasterboard walls. The environment is sterile, neutral. Patrick works away, set against a blank slate, facilitating the management and maintenance of financial systems without distraction.
1985: Thomas Austin rolls out of his campbed at 7.30am and gets to work on his sculpture. For him, the rough, sandblasted walls provide the perfect backdrop for his latest piece, the morning sun contrasting the contours and profiles of his sculpture against dark brick, leaving nothing obscured.
2015: At 7.30am, the infant Sarah Baldwin is gripping the bars of her cot, staring up in wonder at the floral spirals adorning the wallpaper lining the plasterboard walls of her room. Perfectly boxed and squared off, the room bears no resemblance any signs of industry or commerce. This is her world, this perfect little box.