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Preliminary Isuu Document
January 3rd - 8th:
Create angled section based on new Aedicule design to show relationship to church.
Finalize and upload Winter Solistice Plans and add diagrams to show sun positioning.
Finalize 3d of Aedicule to get perspectives and show user experience through entering Aedicule.
Unify Aesthetic of Drawings, Title and Description to each... Start making the language consistent to find a readable linear narrative.
Adjust Abstract to become less symbolic and more pragmatic... Settle on a Better Title.
Section 1:50 and Axo Showing View Decisions...
Critique:
Section and Axo:
-Personality is still not coming through, I should start designing through and with the line I draw. The line should create opportunity, potential and discourse.
- Create a title for drawings and add description
- Choice of color and line weight is not helping in privileging design. Too much detail in areas which are not primarily my intention to privilege.
Axo:
- Create opportunities through notation, Try to construct spaces and conversations through what I choose to notate, these notations may also be intuitive the goal is creating potentials initially.
- Choice of color needs to be rethought.
- Views should be placed on a separate page, and should be better articulated. This will help in the reverse architecture process. What am I trying to capture in the views I am choosing? What is it that is being revealed or I want to reveal? This should be done in respect to the angle of the shot I am taking.
Section:
- Design is getting there, yet personality is still not coming through. I will try to develop a system or style of drawing which can help create conversations rather than a basic CAD drawing.
Section in progress.
Tying the art school back to theme of reveal/revelation:
“Art is a step from what is obvious and well-known towards what is arcane and concealed”
- Khalil Gibran
Personal Response:
To reveal, is to uncover the hidden. It is not the creation of something new, but rather the disclosure of the innate. It is the act of shedding light upon that which already lies concealed in the dawns of our knowledge. When art becomes the quest to uncover that which is concealed. The artists becomes the messengers, their language becomes the scripture, their studio becomes the temple and their process becomes their initiation.
Jury Notes:
- Section is quite confusing… style not determined.
- Decide on Views from Each Story… Tailor the views accordingly… *TS could be on fixating and tailoring views
- Does the building lean on its neighbours or acts a self standing colossus?
- What is the art school?
Jury Response:
TS and Research:
- Analyse previous case studies.... Try to understand how views are framed from different case studies: height, shape of opening, placement...
- Tailor TS towards view capturing, angles of vision.
- Drawings still unclear in showing what I need to say. Start going into more detail and clarity. Relationships need to be highlighted more boldly... Elements need to have more binding style, although they are drawn from context they still need to have more cohesion with one another...
Design of Aedicule:
- Try having staircase as part of neighbouring building... that can also act as a support structure.
- Drawings still unclear in showing what I need to say. Start going into more detail and clarity. Relationships need to be highlighted more boldly... Elements need to have more binding style, although they are drawn from context they still need to have more cohesion with one another...
- Start describing art school in words to start tailoring drawing towards something more specific.
- Studio needs to become more personal... I will take this a bit literally and start drawing things from my own personal room, routine and work space.
Notational Perspective of Woburn Walk looking towards site.
Axo Site Map, marking the piazza and the speculative site.
1st Crit
Clearly Destiny at Woburn Walk
Woburn walk, a pedestrian refuge just off of the busy main road of Woburn Place, and just a five minute walk away from Euston road. The street was designed by Thomas Cubitt in 1822, and thus its Victorian store fronts and Lamposts still remain explicitly present on the street. The street itself acts both as a car buffer, but also as a transition of pace, from the busy Woburn Place to the near silent Burton road. The pedestrian street acts as a transit zone, but also gains the taste of a public square. Displaying an interplay between the stationary and the mobile. Where store owners were sitting outside talking or having a Cigarrette, or just passersby who ran into each other by coincidence having a chat by the Lampost.
Looking at the Victorian storefronts the interiors of the facades house “unlikely” narratives: Woburn Tandoori, Chives: An Italian restaurant , Off License, A hair dresser… Yet one particular place caught my eye: CLEARLY DESTINY. A psychic readings initiative: also offering spiritual medicine and healing. While initially this caught my eye for my mild skepticism, it was brought back to my attention while reading about the street after I returned home. The street is home to two important residents:
- Dorothy Richardson:
A British author and journalist, she was one of the earliest novelists to use stream of consciousness as a narrative technique. Richardson also famously wrote a book called The Pigrimage: “The journey of the artist to self realisation, but more practically to the discovery of a unique form of creative expression.”
- W. B. Yeats: A nobel prize winner in literature. Yeats is an Irish poet and considered to be a major figure in Irish and British literary establishment. Yeats went is known by critics to have undergone a major transformation in his work. Starting off on a much more transcendental tone, engaging with themes of love and mystical subjects, he later in his life goes towards a much more realistic character in his poetry. Renouncing from his earlier beliefs.
Related observations started popping up here in there, just to the right of Woburn walk, St. Pancras New Church acts as somewhat of an indicator to Woburn Walk. A church built by William and Henry Inwood who were offered the opportunity to design the church after submitting for a design competition of 30 or more contenders. The church was meant to serve a newly built area close by. The cost of the church was £76,679 making it the most expensive church to be built in london since the rebuilding of St. Paul’s cathedral.
On my way back from the site the second time I was handed two postcards in front of Euston Church… Clearly Destiny ;)
Another interesting related bloomsbury find:
http://www.ucl.ac.uk/bloomsbury-project/institutions/british_national_spiritualists.htm
Further note to investigate: There is a dance school just after Woburn Walk called “Place”.
Radical originates from the latin word Radicales which means “of or having roots”; a radical reformist would be someone who favours fundamental change, or change at the root cause of the matter.
This definition in turn creates a handful of fascinating questions for me when it comes to creation of something radical. Is it the creation of a completely alternate vision? or the intricate transformation of the everyday? Where would that transformation begin?
Karl Marx, a once bloomsbury resident, in his stand against capitalism suggested that the radical transformation of societies lay in the empowerment of its collective. He wrote: “Society does not consist of individuals, but expresses the sum of interrelations, the relations within which these individuals stand”. Mahatma Ghandi, a bloomsbury graduate, in his resistance against the British suggested that first step towards liberation comes through the radical transformation of the self.
My initial readings into the history of Bloomsbury, its physical transformation and its notable residents, activists and pioneers, uncover a rich site for possibilities in intervention. In the very first days of reading I’ve already come across influential figures in the sites history who brought about radical change in the fields of art, literature, politics, architecture tackling constructs of economy, class, gender, race and etc…
It is therefore with great excitement that I await to engage critically with the area's past, and speculate on how I too could propose and express my radical intervention in today’s age as a potential architect. Especially in a site such as Bloomsbury, which by means of london is not only subject to local transformation, but more than ever global transformations as well. What roots would I tackle to transform? And how would I bring on that transformation?