One thought on “Tutorial Notes

  1. In general it was a consistent presentation but where it fell down was in making sure to include all elements of the research and project to tell the story in a clearer more powerful way. Shintoism and its acceptance of disappearance is a key part of your argument and should have been included in the introduction so for Tuesday, think about how to present to better integrate this into the presentation, along with your material investigation into Japanese joinery, and the tests you are carrying out.

    In terms of how you are testing the joint, think about the time-scales these changes are occuring over. If salt warps wood over a ten year period how can you speed up the decay of your test by applying heat or changing the conditions etc. to give you a more accurate understanding of how it would work on site.

    I still don’t feel like I properly understand Tracey Metz’s proposal for Holland, to allow selective flooding – it would be great if you redrew this as a case study to show what aspects of her idea are relevant to your project that could then be applied to Dungeness. What conditions are necessary for this flooding, what construction is involved? Where would you locate similar conditions on site, to carry something like this out? Perhaps in addition to the Holland case study, you could also do one for Venice – in both case look at how they flood – is it over the edge or from the middle, and how is this mitigated/ solved?

    The project is about the negotiation between land and sea, and at the moment the way you draw the edge or the threshold between the two is too rigid – a hard line – when it should be ambigious or through multiple boundaries. I liked Jason’s idea to draw the edge(s) where land meets water, and then to make another drawing of where water meets land – the difference between the two will be fascinating.

    Your use of watercolour as a medium is a smart and intutive choice -so use this to your advantage in flooding the page, to blur the boundaries more and show the gradient between land and sea. Think about how you use the same technique to do different types of drawings – plans, sections, axonometrics, technical details, exploded drawings, moving drawings, tidal flows, etc.

    The section is coming along, but it needs more detail so we understand the water level across the site – ground water, vs. fresh water vs. sea water and the overlap between these. The use of the topographer’s trick to exaggerate the section will be useful as you cut through larger and larger expanses of the site. How do you draw the tide?

    How do you emphasise the haunted aspect of the project, the sense that this landscape is on the precipice of existence, about to disappear? How is this done through controlling the flooding? Are there markers or some sort of cautionary measure that serves as a reminder of the inevitable fate of this stretch of landscape?

    Think about hierarchy within the portfolio. What needs to be a big drawing that manifests a key point within the project, and what needs to be in the smaller booklets to document research, analysis or process. Project gestures need to be bigger so we see a hierarchy to those decisions as opposed to case studies and observations.

    Work on the presentation structure and allow this to inform the portfolio order for Tuesday, in addition to improving the section, as well as the case studies mentioned above. Looking forward to seeing how it develops!

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