Post Chocolate Acting

Following on from Danielle’s comments last week I have filled in some more gaps but still need a big “WHY” image.

For me the “why” has always been more of a “because”. Dungeness is a unique instance where boundaries and experiences are so juxtaposed against each other it allows distinct narratives to be drawn between them. Dungeness is a physical representation of ones consciousness, most people are in a constant state of turmoil about who they are, bounded by ideals, experiences, memories and rules a person becomes a representation of their environment, as is Dungeness.

The project is a comment on how architecture is traditionally informed by the place, here the place is informed by architecture. My project manipulates place to provide an architectural experience in the form of land moving acts for which the main characters are the juxtaposed personalities.  

… this being said.. still struggling to communicate that, it’s not the Palm Dubai, honest.


So drawings, after being filled with several kilos of chocolate I spent much of the week updating pages in the book (will be 200 pages by next week) and adding more depth to the project.


4 maps updated to look more like admiralty chart maps, also longitude and latitude are centred at the staging post.


002_170418_Maps - Copy 003_170418_Maps2 - Copy 004_170418_Maps3 - Copy 005_170418_Maps4 - Copy


3 Acts on 1 drawing, we haven’t discussed this drawing previously but I needed a map with all the elements, and didn’t want it to look like the others:


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View from the Rehearsal stage to Act 1 – Energy Protection:

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Still working on this, the Victorians jumped back in their TARDIS:

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Site plan of Staging post in 2020 at the start of Act 1:


Tidal analysis (tech):


Simple Climate page to go before a solar study on the home orientation for tech element.



Dungeness is Shingle drawing; simplified with less colours and reduced line weights. shingle_duing

Island/Territory Distinction:


All the plots which are to be relocated during Act 2:

collection of boundries

Following the Lieb House precedent a tech focused drawing regarding extracting the homes.


2 thoughts on “Post Chocolate Acting

  1. Hi Oliver,
    In terms of the why/ because drawing – I think what’s missing is something that emphasises the existing island-like quality on Dungeness – the invisible plot lines echo your invisible boundaries plotted onto the Dover Strait and something about the individual, singular style of inhabitation is important. Everything exists in isolation to a certain extent and that needs to be emphasised in how you draw and talk about the existing to explain where the idea for your project came from. It also helps since that’s not where the Palm Dubai came from! You have made an observation about the island-like attitude towards living on Dungeness as well as the separation between architectural constructs across the site. Then there’s the added separation of the invisible plotlines that demarcate the landscape into individual territories or islands. Your project takes the existing and amplifies it into a series of four acts where within each act, Dungeness is given wholly over to a one group of people or quality of the place that has a vested interest in this landscape. The drawing language developed through the maps and your new views could be useful to show the existing condition and how that informs and influences the project decisions. Use more theatre terminology to talk about the project in conceptual terms of how you transform this landscape over time. Strategy, land-making/moving etc. can be used strategically when talking about tech drawings but shouldn’t be the language of the project itself.
    In terms of drawings:
    The maps are looking great, something about the yellow house icons needs to be changed though – its too cartoony for such a sensitively drawn and detailed map – maybe just remove the bubble around them? Although then it might make it harder to read that the buildings have moved from Dungeness out to smaller islands – anyway, just something to test. Is there a 4th drawing that shows how these 3 acts could co-exist with a Powerplant island, house islands and the main peninsula being the landscape island? How does the project conclude?
    3 Acts on 1 drawing is a good start, but something about the yellow makes it feel cartoony and overwhelms the composition. I would scale back the yellow or try to just do it without colour fills and just used coloured line and hatches. But the composition of the drawing looks great and its a good drawing to unite the different elements of the project. Perhaps in Act 2 we should see a field of house-islands to differentiate from the singular island of the power plant in Act 1 and in Act 3 there shouldn’t be a white circle since the whole of Dungeness is landscape?
    The views look great and are really coming along. I would be wary in the second view of making it look too much like a theatre with curtains etc. I like the delicacy of the structures and the simplicity of the form of the staging post (a lot less tank-like!) and easier to imagine in the landscape. Would be nice to see a view like the first one for each stage or something similar so we really start to see the land-mass of Dungeness fragment and disappear around us.
    The rest of the drawings formatted into the book look great and have come a long way. The housing plots drawing needs a drawing before that which shows the plots in context and their separation into islands that follows. The island drawing is important, and I would think about how you really introduce the project in terms of islands, underlining the island like qualities already present on Dungeness which is a non-island island given its separation from the main land and psychological isolation from the rest of the country. What makes something an island? Why are islands important to architecture? These questions might help figure out the underlying ambition of your project – not be a land-maker like those out in Dubai, but instead to reveal something about the existing landscape and push it to an extreme. Hope this helps and good luck!

  2. Also, I went to see Incoming by Richard Mosse at the Barbican yesterday and saw this image that reminded me of your second staging post image:×489.jpg – its haunting to see a refugee camp in the middle of a stadium but also the empty seats suggests spectators – something about the grid of tents surrounded by seats made me think of the latent potential of the staging post- everything within it is just waiting to be used, moved, reallocated, activated. Anyway just thought it might be useful to think about.

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