The whole austere & melancholy ensemble is literally grotesque; it emerged straight from the aesthetic, cultivated by the poets, painters & garden designers of the 18th century, which thrills to the echo of ruins and caves, and seeks to reproduce their dank atmosphere in domestic landscaping. – Bryan Dillon, Dungeness.

Based on two collages I picked from the exquisite corpse activity, the main themes that I found are:


Collage 1
1. Gradation of textures and colours (rough vs smooth and monochrome vs technicolour)
2. Verticality.
3. Absurdity and inversions.


Collage 2
1. The relationship between humans and nature, i.e architecture.
2. Architecture as a bridge between humans and nature.
3. Axis and intersection.

Using Piranesi’s “Imaginary Prisons” series as an inspiration, I was interested in the idea of feeling entrapped yet free, as the printings depict an emotion of free movement, yet knowing you will not be able to exit the structures. I was also interested in the idea of exaggeration of scale and proportions, which plays a grandeur yet absurd feel to them.







Henceforth, I was interested in building underground cities, where the movement within the structures are free, although egress and exit to and from the structures are┬álimited. As for materials, I am interested in using only local materials, i,e materials authentic to Dungeness itself. According to Dillon’s “Dungeness”;

But none of it has prepared me for the gravelly oddness for this section to the coastline. Everything seems to be made of flint, including the massive sea wall, is bordered by a path, of the same substance; a caravan park on the other side of the road is similarly surrounded.

Below are some notes behind the thought process and drawing progress.




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