Loose Ends

This week I have been finalising the design for all three sites (although the design can never be ‘finalised’) so I guess the design is changeable right up until the last minute. At the moment each cottage has been visualised up to the garden stage.

  • I have been trying to set up this final drawing showing my proposal for how the site becomes occupied by the landscape, but I am finding this quite difficult. I have referenced each of the three sites (at garden stage) into one drawing. I can visualise what I want it to look like, but it is deciding what medium to use to draw it that is the problem. Also I’m not sure what scale to draw it at. The three sites fit on A1 at 1:500, but before we had conversations about representing the landscape stage at 1:2000, but I am not sure if this is too big an area to deal with.

I think I might first start to proliferate the site with the plans of all three cottages at garden stage in CAD and then begin to draw how these starts to proliferate the site as a whole and maybe photoshop collage and draw lots of texture and detritus over the top. So I might have a half finished drawing for the crit on Thursday.


  • Both Pleasant Cottage and Shingle House go through the same process of decay and renewal as Derek’s cottage, but this is shown in less detail with key design interventions for each highlighted through the spiral drawings:

1.) Pleasant Cottage is an old fisherman’s cottage, so the most important space to its previous inhabitors (fishermen) has been defined as the net loft. In response to this the net loft is elevated on timber stilts above the rest of the cottage which is left to decay for the redstart and garden and landscape.

2.) Shingle cottage is designed as a holiday let. The most important design features defined by the architects are the central core to the building (defined by  Chimney and stairs) and the windows out to the views of Dungeness- therefore these are the spaces that are preserved and the rest is left to decay making ideal spaces for the restart and garden etc.

Here is the beginning of the spiral drawing for shingle house highlighting the most important spaces of the existing cottage and then how the collapse of the unused spaces will belong to the garden. This still needs to be annotated with the stages of the spiral process and also I will being to life with collage/ hand drawing:


  • With Ed and Franceso, I discussed my proposal for the timber support structures I am proposing to use to ‘prop’ up parts of the structure that I do not want to fail- this includes the windows to Shingle Cottage in order to ‘preserve the views of the landscape’. In order to do this I will be reusing the existing materials from the site such as the timber cladding. No new materials are used at all in construction. But I want to make it clear what parts of the structure have been changed and I will do this through colour. Here is an example of how the support structure will work:


I am doing about one hand drawing a day amongst other things so this is quite slow, but I have a three hour rule, where I spend 3 hours on a drawing and then move on. I think I need to now go back to adding texture and colour like the previous photoshopped collages that I did at the beginning.




  • I have also returned to the castings that I am proposing to be left as the remains of each cottage and a ‘legacy’ to each of the occupiers who inhabited the site. For example Derek’s bedroom will be cast in concrete and so will the voids of Prospect which are at the ‘ideal’ stage of decay for the redstart. I am making new refined models of these which are currently being cut with the CNC. I will also do a drawing which shows all of these castings in situ across the site as a ‘haunted’ legacy to all 4 inhabitors on each of the three sites which make up the landscape as a whole. Here are some rough renders to show what I would like to have modelled in the end (not final images):

Inside Derek’s bedroom cast:


Redstart Ideal cast:


IMG_9703 IMG_9704


here are a few collage views (work in progress) which will be added to the spiral drawing:




And Prospect Cottage Spiral Drawing (Work in progress):


One thought on “Loose Ends

  1. Hi Helen

    Lots of work and some nice drawings! I will go through each of the elements:

    Landscape drawing – my first question, is what kind of view is this going to be? Is it in plan? If so, I think you should supplement it with some additional drawings or vignettes that show the condition of this phase ‘on the ground’ as in the plan itself could be difficult to really show much of the design intention. Or in addition to the plan which orientates us, you could produce a perspectival view from a raised viewpoint, with the transforming landscape stretching away from view? This would allow you more information and atmosphere than a plan alone.
    And so on the question of scale. If the plan overall is to orientate us, then 1:2000 would work IF supplemented with a view/views as I suggest. Ask yourself, what is the extent of the landscape that you want to show as infected, think about what your logic is for choosing an extent, what is it about your project that defines a boundary for the landscape scale? Or is it a process that will continue (beyond Dungeness)? And do you therefore state that your landscape drawing is a certain snapshot in time, the boundary created by the extent of the creep in say 25, 50 years time.
    With regards to the medium, if to date you have been employing a strategy to select your drawing method/medium (line, collage, hand etc) then continue that strategy into this scale as that will bring coherence to the multiple scales/protagonists.

    For the shingle house drawing, if the collapsed elements start to ‘belong’ to the garden then it seems that you will need to start to introduce the garden to the drawing to show this relationship.

    It is good that you have ‘solved’ the requirements of the support structures with Ed and Francesco, but they look quite conventional. If it is important that it is extant elements that are used, then perhaps you can think at a level beyond just the material. Can the supports for example import something of the form or construction method of your extant parts?

    The beginnings of the cast renders are looking good. For the in situ drawing think about what role this also has in showing the infecting across the landscape stage – does it answer some of the questions about the landscape drawing that I mentioned at the top of here?

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