Atelier Dale Wow Sections

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.

ds7 portfolio 15.03.2016.inddinudstrial flatresi perspective



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.

One thought on “Atelier Dale Wow Sections

  1. These drawings are looking good and start to give us more of an understanding of these spaces within the context of the building, moving on from some of the isolation in other drawings. As we discussed on Tuesday, think about how you will start to articulate the details and transitions across the building as a whole, the entirety of the building as a system of change.

    As well as observing what is stripped back to, what is the role of parts removed in the stripping back? For example, does a removed plasterboard wall or carpet get reintroduced as a flexible element changeable via the detail(s)? It could be useful to make a taxonomy of the elements you are identifying creating a spectrum from the very core structural elements of a complete strip back to the introduced and removed elements that vary the programme. From there you can understand what elements you have to play with, and pass through the details to construct your incongruous spaces. I agree with the need for the annotation that you propose and maybe this is a way of highlighting the elements that form your taxonomy.

    The texts identifying the moments are really very nice. This focus on times of day across the years suggests a good set of points from which to investigate the incongruous spaces brought into play through your details. For each of the scenes you have written here look toward making a drawing of that moment and scenario but with your detail coming into play and bringing those moments together – the sculptor catching a glimpse of the factory worker etc. This is the a great oscillation that your project promises – betwwen the impossibility of collapsing the moments and the design of details to suggest the building as a mechanism that might allow those moments to co-exist. So follow up on that promise.

    Looking forward to seeing worked up drawings for the third detail. In looking at the possibilities think also about what was discussed about openings within larger openings (such as the small door in an enormous cathedral door). In terms of a variable opening the camera lens aperture comes to mind as an interesting movement Be sure to have evidence in the portfolio of how the detail has been arrived at, to show your process of thinking.

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