Here are a few references for everyone based on conversations we had last Tuesday – some of them will be relevant for more than just the person for whom they are mentioned – so have a look through them all and see what could help your project specifically.
Lewis: Following on from our discussion on Tuesday about how the axes of your collage composition could be drawn to show change over time, this is an example of a time-based drawing – this won the drawing prize at the AA a few years ago – its a weird section but what’s interesting is that the section changes over time as you read the drawing from left to right, collapsing time into the space of the drawing to show how the project could age. This could be really interesting when applied to your drawing that is in perspective so that things would age along the diagonal axes…
Also in terms of the additional suggestion of a taxonomy where you order buildings and objects according to their degrees of being natural or man-made – here are some taxonomy examples: First by a student from DS7 last year, Anoovab Deka, that was creating a taxonomy of factual and fictional elements on his site, Marine Park in New York: http://ds7.osa.digital/wp-content/uploads/2016/04/MAIN-TAXONOMY.pdf Or this taxonomy of branching structures for a project by Serie Architects where they took the mature Rain Tree and abstracted it to form their eventual architecture – also interesting because its https://static.dezeen.com/uploads/2009/12/dzn_The-Tote-by-Serie-Architects-21_1000.gif
Roxanne: This is the encyclopaedia I mentioned in tutorials that is of an entirely fictional world with its own language, script etc – the drawings are pretty incredible: http://www.principiadiscordia.com/downloads/CodexSeraphinianus.pdf Also this project by Samantha Lee (who will be running the scanning/ image capture workshop with us in Dungeness) is interesting in how it combines the natural and the technological: http://pr2012.aaschool.ac.uk/students/samantha-lee – it also has some nice drawings of plants, that draw relationships to chips and processors, and of landscapes with data overlaid.
Oliver: Nice model of the shifting landscape on the blog! On Tuesday, I mentioned the Eameses’ Powers of Ten video: http://www.eamesoffice.com/the-work/powers-of-ten/ – it could be interesting to think about how this translates to your project – what can be considered a ‘landscape’ at each scale, and what is dynamic or shifting within this landscape?
Also I saw this image at the Frieze Art Fair today:
And the way the glass was shattered on top of the photographic image looked like the ridges of shingle, which could be an interesting technique?
Also this project is interesting in how it plays with scalar extremes – the iceberg in the bathtub, the digital avalanche onto the city etc: http://pr2015.aaschool.ac.uk/DIP-06/Yufei-Li
Harry: Some quite interesting flow patterns and landscapes in these paintings – new techniques to add to your repertoire of techniques to manifest currents and waves: https://mauricesapiro.com/viscosity-series-poured-paintings/ Also these paintings were paint is poured repeatedly onto blocks create interesting patterns – not sure if its useful but it is a different technique that could give you more control than the water bath – more 3d, and also it inverses the relationshp between the water bath and the paper.
Song: Ed wanted me to pass on this reference for you Song on Jean Prouvé’s demountable houses since it could become interesting as you begin to develop your technology: http://www.patrickseguin.com/newsletter/2016-10-01/index.html
Also look at this project by Anny Stephanou – it uses axonometric to piece together a series of different architectures as a 3-dimensional puzzle – unlike your drawing that folds, hers is connected when the pieces slide in: https://vimeo.com/141590561 (it all looks animated here but in reality was built of physical pieces).
Also, I saw this incredible drawing (I hope you can zoom in) by the artist Doh Ho Suh today at Frieze which was called ‘My Homes’ and was three lines of drawings as a series of plans, sections and axonometrics of all the homes he had lived in – it made me think of your drawings and another format through which you could interrogate the different durations and definitions of ‘home’.
Three-point perspective is what defines a bird’s eye view drawing – so it would be interesting to construct your drawings of Dungeness with that in mind but also taking into account what was discussed in terms of drawing shifts in perspective according to changes in the height of the bird’s flight path to record its motion through what its changing viewpoint. Also in terms of treasure maps, these studies on disorienting maps that could be realigned or moved to locate the treasure came to mind: http://socks-studio.com/2014/02/11/louis-dourado-disorienting-maps/
Anna: This is the example we discussed during tutorials of the Ise shrine: http://www.smithsonianmag.com/smart-news/this-japanese-shrine-has-been-torn-down-and-rebuilt-every-20-years-for-the-past-millennium-575558/?no-ist – each time it has been rebuilt it is not considered a new structure but rather a form of cultural continuity – makes for an interesting understanding of permanence and temporary as well as how buildings last over time.
These drawings by Tom Ngo have similar qualities to your collage with the houses on stilts etc: https://koozarch.com/2016/06/15/creating-in-a-parallel-environment-devoid-of-logic-and-rules/ Also I’m not sure what the internet connection is like in Dungeness but since its remote, our conversations on tethering and lightness vs. infrastructure made me think of Project Loon by Google where they are using airships/ blimps to provide internet to places without the necessary infrastructure: https://www.solveforx.com/loon/
Mary: The conversation we had on Tuesday about how to annotate the pre-, current and post- states of objects in the landscape to understand their myths and histories as well as presents and futures, made me think of a few different types of drawings:
These small system drawings by Gianfranco Baruchello that annotate and isolate objects to start to make connections: http://socks-studio.com/2015/06/30/gianfranco-baruchellos-infinite-small-systems/
Or this Museum of Lost Volumes that encases parts of landscapes into vitrines to understand them as objects: http://socks-studio.com/2015/10/17/museum-of-lost-volumes-by-nemestudio-2015/
Germaine: I found this link about The depositional and landscape histories of Dungeness that seems to have a lot of useful information about the different types of soil, minerals and layers of material on site: http://community.dur.ac.uk/igcp.495/wp-content/uploads/2016/02/Dungeness.pdf
Also this is the magnetic sand I mentioned on Tuesday: https://www.youtube.com/watch?v=Ttv33ki-Xys
And these are more weird types of sand that could be useful to make test models about magnetism or unusual conditions on site? https://www.youtube.com/watch?v=uG8UkempW6k
Jia Wai: Here are two examples of drawings of an underground city in Moscow – one uses the tunnels of the subway system as inspiration to generate a new kind of subterranean city: http://pr2013.aaschool.ac.uk/submission/uploaded_files/INTER-07/thumbnails800/Nurul.Che-Ariffin-provocation%20section.jpg
And the other inverses a huge unbuilt Russian monument The Palace of the Soviets so that instead of being above ground it is now below ground: http://pr2013.aaschool.ac.uk/INTER-07/Maria-Radjenovic – it reminded me of the discussion we had about changing the relationship between what is above and below the ground.
Plus here is a video about the Salina Turda salt mine in Transylvania that exists below ground with a theme park (referencing your ferris wheel reference and something we will visit on our trip): https://www.youtube.com/watch?v=pzVKtJXcwuA
Faez: These are the deep-level shelters I mentioned on Tuesday that are littered throughout London as WWII bomb-shelters connected to the London Underground network: http://underground-history.co.uk/shelters.php – some interesting drawings and an understanding of how they were built, what they are currently used for and the relationship above and below ground. This is a huge one in Clapham: http://londonist.com/2016/07/take-a-look-around-a-deep-level-shelter-beneath-clapham – could be interesting to visit if they still offer tours? Also I found this listing of a not-so-underground observation/ look-out post in Dungeness – I think it has now been removed but the details are interesting: http://www.subbrit.org.uk/rsg/roc/db/988289358.014002.html
Sam: Continuing the conversation on monuments from Tuesday, this is a proposal for a neutral monolith where the man-made is positioned within the natural landscape: https://koozarch.com/2016/06/03/natural-meets-man-made_exploring-the-neutral-monolith/ I also like this example mainly because of the title “Forgotten Monuments of Unrealised Futures: http://socks-studio.com/2016/06/02/forgotten-monuments-of-unrealized-futures-danila-tkachenkos-restricted-areas/ It might be good to look into the Cenotaph as a different type of monument – usually an empty tomb to commemorate an important figure whose remains are elsewhere – most famously Boullée’s cenotaph for Newton is an incredible series of drawings of an unbuilt project: http://www.archdaily.com/544946/ad-classics-cenotaph-for-newton-etienne-louis-boullee
Ioana: This is an example of a Potemkin village that I mentioned in your tutorial – an imposing facade behind which lies a totally different volume usually much smaller in stature: https://commons.wikimedia.org/wiki/File:Potemkin_Village_Facade_Auckland.jpg or these examples by Felice Varini are good examples of how to blur perception with reality: https://www.visualnews.com/2013/03/21/felice-varini-anamorphic-paintings-cover-the-world/ – How can use optical illusions or visual tricks to blur reality and perception across the site – who is your audience? and how do you draw what is physically present and what is perceived?