Peripetics by Zeitguised

A remarkable animation made by Zeitguised, with sound by Michael Fakesch, and commisioned by Zirkel Gallery.

Peripetics by ZEITGUISED from NotForPaper on Vimeo.

An Other Place

Two images of spaces taken from within the world outlined in this storied proposal "Breaches, and Other Places" over on TextBin.

"Cine-Doche" AAIS Hooke Park Goodbye Film

The final trip (the first without external commitments) of the AAIS group was to Hooke Park, a forest in Dorset owned by the AA, where we inflated our pavilion and spent a couple of days writing, filming, eating and drinking.
This is the outcome, a goodbye to the pavilion (which we designed and worked with for so many months), to the Bauhaus (which we both collaborated with, and studied), and to the AAIS (for which we were the test Bunnies).
Made with Catharine Patha, Kate Mactiernan, Parastoo Anoushehpour, and Takako Hasegawa.

And a big thankyou to the bemused but ever-helpful Jean-Francois.

Animation Of a Multi-Nave

A test animation using rhino's bongo animator, and edited on Adobe Premiere.
Quite happy with it, except for the awful quality of the youtube upload.

The video above is cut to half its width by Blogger, go here for the full version
The music is part of a song called "Painter" from Momus' 1991 album Hippopotamomus, which you can download here, thanks to the man also known as Nick Currie.


Above is an image of the main space that is in the animation.

"Digital Hinterlands" Exhibition

At Arup's new exhibition space on Charlotte Street in Fitzrovia, Digital Hinterlands, curated by Ruari Glynn as part of London Digital Week, is a collection of recent graduate work that uses digital tools in new and unexpected ways. The exhibition's aesthetic of laser-cut, and then bent, aluminium panels makes it feel a little bit as if a klingon will jump out from behind one of them at any moment, a playful atmosphere which is a pleasant contrast to the bland seriousness of the rest of the ground floor, with its hung ceilings, reception desk, and glass entrance barriers.

The work is all of a high standard, and I would recommend popping by to choose your own favourites, but I am going to allow my biases to draw me towards two of the exhibitors.

Hanging Panels

Firstly, and briefly, Tarek Shamma's exquisitely crafted Coptic church in Cairo, the Circus Lumens, a powerful and impossible statement of that religion's continuing presence in a city that forbids it to construct new places of worship. Click here for Tarek's blog for the project.

Circus Lumens

Secondly Jordon Hodgson grabbed my eye, the first time whilst sitting folded in on himself on the floor, simultaneously talking on his mobile and dropping tiny pink beads onto the model of his politely kitsch, and delightful, inhabitable chandelier (pictured below), whilst also somehow managing to look short and delicate, which meant that when I met him later that day at the opening, I almost didnt recognise him for his immense height.

Jordan Hodgson
His project, the Workhouse Of The Infrastructural Counter Reformation, produced last year whilst at the RCA, has a thread of fun, humility, and general delight running through it, woven together with a descriptive verve that makes an impossible future world seem as tangible as one presented in an immersive movie (workhouse meets credit crunch, and the fiscal boost of infrastructure spending, to bring a bout a new urban typology aimed at a British economic renaissance, but entirely drenched in victoriana to ease the anxieties associated with its birth). The models hover on the edge of tackiness, and yet by virtue of the obvious consideration, and serious thought, that has gone into their composition, and the success with which some of them, especially the chandelier, convey a sense of structure, they remain very much within the realm of appreciation.

Inhabited Chandelier

The plan was definitely the most engaging part of the project represented in the exhibition. It was like Piranesi's Ichnographiam Campi Martii, but made entirely of doilies, and used to describe the infrastructure of some sort of large, florid and ornate lunar settlement.

Plan of The Project

Then, around the corner from him was the table displaying some of the models from my final year project, The Church Of Perpetual Experimentation.

With a film next to it, describing the project whose intro can be seen here, and the main film here.

Monument to Porcelain 1

The version below is cut to half its width by blogger, go here for the full version

Things that Lurk in old Hard Drives: Design for Serpentine Pavilion 2003

What things can be unearthed from the dusty interiors of ancient Hard Drives once presumed broken!

I found this video that I had forgotten I had ever made on an old hard drive that I was about to throw away, since it hadnt worked for about 5years. I plugged it in one last time, to find that it hummed gently, and happily gave up its contents, all of which I had thought forever lost, including this startlingly mechanical and monochrome fly-through of my final design in 2003, (a proposal for a Serpentine Pavilion) for Charles Walker's first year at the AA Intermediate School; a unit that is now spawning a prodigious quantity of pavilions in Bedford Square. I designed an Excel Spreadsheet that would generate all the panels according to a few parameters, and several bell curve formulas (for height gradation and grid distortion, both in plan and section). The next year (2004) the project turned up in a sheet of 'influences' for Jurgen Mayer's Seville 'Metropol Parasol', along with a couple of other projects from other architects.

I do not like the design, but the insanely geeky and thorough process of designing my own parametric 'program' from scratch on Excel was an experience that I do not regret; and besides, doing this design for the Serpentine Pavilion took so long, and was generaly so unnatural to my inclinations, and so out of keeping with a context I loved so much, that there was a whole year of pent-up ideas, and continuously frustrated desires for the site and the programme, that simply burst forth with a vengeance when somehow, through luck, I ended up in Rotterdam, working on the 2006 OMA/Rem Koolhaas Serpentine Pavilion. It was such a joy to be able to work on a real design for the same site, a real design together with a team (notably the eminent Mr Karel Wuytack) and an architect, who were interested in so many of the things I had suffered from a lack of, in Charles' strange tool-based technocracy; namely the pavilion's relationship to the historicity of the place, its quality of allusion and its enmeshment with the events planned to occur within it.

DomestiCity: Conclusion of Unit1

Unit 1 of the 2009 Summer School concluded with one film, presented while the students sat on a long table in front of the audience, drawing in the light of the projection above them, a final concluding storyboard/mindmap of their experience, which, as the film finished was presented to the jurors sitting directly in front of the table.

the students drawing during the screening of the film, which was projected just over their heads.

Part 1 of the Film:

Part 2 of the Film:


The storyboard

They worked in three separate teams filming and editing footage, while one member of each team represented the rest in daily meetings in which the overall narrative was gradually worked out, which then defined further work in image drawing, animation making, and sound editing for each of the teams.

Heres a little, silly, "outtake film"

Thank you especially to Peter Carl and Catharine Patha for your interest in the work and your insightful comments as the students presented for the last time, and, of course, thank you students:

Nathaniel Bengio
Alicja Chola
Noa Gonzales
Rachel Delargy
Cecilia Hui
Maria Koufalioti
Jan Ledwon
Vanessa Mitrapanou
Lap Fat (Morris) Ngai
Sandy Stuchfield
Chun Ping Yip
Taylor Zhou
Daria Tarawneh

DomestiCITY: AA Summer School Unit 1 Introduction

This is the Presentation that Marie Isabel de Monseignat and I will be making day after tomorrow to the AA's Summer School's students, hoping that it will be interesting enough for them to choose.
Bring on the Domestic-in-the-City!

Naughty Gordon...

"Salon" Exhibition

photos by Takako Hasegawa

I had the honour of organising this exhibition of 'works in progress' at the AA for its Inter Professional Studio (a studio set up to bring professionals from outside of architecture into the aa to experiment). It runs through the month of may and the space has been designed to be used for a programme of events which included a wonderful theatre performance (Erin and Florian) by Vier Theatre on the 21st; a series of 3 conversations about collaboration (Catharine Patha) on the 19th, 26th, and the 27th, with guests including Hans Ulrich Obrist, Richard Wentworth and Gavin Turk; a symposium of the AA's Interprofessional studio and the works in progress which are exhibited in the Salon; and a lecture and workshop by Canadian artist Emma Waltraud Howes.

Emma Waltraud-Howes talking about the development of her work over the past three years

The poster for "Erin and Florian"

Erin and Florian being performed

The exhibition was organised as a decorative ensemble of images hung in a relaxed fashion on walls which were painted a warm grey-red. Explanations of individual works were available as tear-off sheets hung near the works, but the main intention was to create an atmosphere composed of our works, rather than organise the room as a descriptive exhibit. The centre of the room is taken up by a large table (used as a round-table in the conversations) composed of seven smaller tables which can be sperated to take out of the room, in the case of Erin and Florian, or broken up and used as stands for drinks and canapes.

Participants:
Laura Boffi
Will Martyr
Adam Nathaniel Furman
Catharine Patha
Takako Hasegawa
Heather Lyons
Jan Brueggermeier
Parastoo Anoushehpour
Kate Mactiernan

The opening party:

The tables:

These were designed and made by me and Kate Mactiernan (pictured above).

Curtains by Laura Boffi:

models of the AAIS pavilion in Germany:

avi corner:

Hans Ulrich Obrist discussing Failed Collaborations with Mark Cousins

Brett Steele talking about the AA's programme of diversified forums for discussion, and Mike Weinstock across the table.

Dr Ken Arnold (Director of Public Programmes at the Wellcome Collection), and David Cotterell discussing the remarkable work David produced for the Wellcome Collection

Richard Wentworth and Kit Grover talking about their experiences of working together

Subjective Cartographies

This is the whole of the film which "Two Men and Their Monuments" is from. It explores (in a fun, collaborative fashion) the notion that a city and its physical fabric can be spatially mapped from a perspective other than the quantitative analysis of its statistised components. A sort of literary cartography, an urban plan in which the legend would correlate and compare densities of footfall and the prices of available rent-controlled accomodation in any area equally with the relative quality of its outlets selling japanese cat-food brands... it is half in french, half in english

Unit 6 of the AA Summer School 2008

Marie Isabel De Monseignat and I taught Unit6 in last year's Summer School. The theme for the year was "London Disasters", and our brief proposed to create a Factory for the Recycling of London's discarded passe architecture (a form of disaster prevention). We wanted a brief that would allow the students to bounce backwards and forwards between zany story-making, fun sessions of impromptu designing, and periods of serious discussion and debate and deliberation about the points where their work was navigating through interesting and relevant topics. Each student spent a week on an individual project, which was then critiqued in an internal jury. That work was then concluded while the whole unit embarked on pulling their individual thoughts and designs into one working factory.

This is most of the Introduction which we played for all the students on the first day of the Summer School, the other bit being an explanation of the schedule and way of working (so i left that out). Students watched all 6 Units present, and then filled in ballot papers to choose the unit they wished to attend... as you can see we were extremely fortunate with the students who chose us:


These are some images of the final model (scale 1:50), and the final drawing, which were the vehicles through which the students combined their disparate ideas into one functioning project... it was very interesting to watch how the group production of these drawings and models ingnited several discussions which kept running (and nourishing) all the way through the course and culminated in a couple of rather long, tiring, but ultimately fascinating debates which tied-up the unit's work in a way that showed how engaged everyone had been, how the students had really been drawn into the work and the collaboration both intellectually and emotionally, which all resulted in a sort of strangely ecstatic mood by the time we made our final presentation, a mood which I took as resulting from the feeling that together the group had produced something that could never have been done separately, a sort of bond of successfully materialised creativity.

The whole model of the factory

The whole final drawing

a zoomed in area of the final drawing

a zoomed in area of the final drawing

image of the factory in the site, with reclamation-copter leaving to go and fetch passe fragments...

reclamation-copter carrying Dimitar's recombined product

Students working on final model



This was the unit just after presenting in the mid-Jury. You can see the collaboration on the model has begun in teams of four to each part, and the individual projects are on the wall to the left...

A film of a small part of the final Jury presentation, which we made into a bit of a performance, costumes and all:

everyone just after the presentation

The wall of our studio

The students' rather forbidden way of saying thank you

me and marie after the last dinner/drinks

We also exhibited the unit's work in a month long exhibition at the AA in October of the same year. Here are the only surviving images:

And a random addition (it was on one of the films, and you can see me all dressed up for the final presentation at the end), me and marie visiting our Diploma 9 Projects Review exhibition, which used as a base the stairs from my Church of Perpetual Experimentation project:

Performative Space I

This is the Image which is going to go with my films of 'People Watching People' and 'Recollections From Within The Crowd', in the AASALON exhibition which will open on May 1st.


This is the text that goes with it:

It expanded, pulsing like a dead body heaving with unescaped noxious gases, breaking out with scars, patches and wounds of colour as if bacterial mould and mildew were painting the bowels of this torrid place with the florid marks of a tropical disease. Seats tipped over and disappeared into the folds between columns that began to bulge like the faces of men having heart attacks, swollen beyond use and marked across, slashed all over with tattoos as desperate in their relentless acreage as the panting breaths of a suffocating dog. The stage was lacerated until it bled red and was then hurled over to a place where it lay, sinking into the Technicolor mess that groaned and swelled around it.

3 Recollections from within the crowd

This is the film of overlapping narratives from within the audience space of an auditorium. It didnt really work with several "mes", so the lovely Kate Mactiernan (who I am doing the tables with), and the beautiful Catharine Patha (who I developed the thoughts about performative audiences with), stepped in to add a little feminine insight to the work.

This has been made for the Jena Theater Festival and is meant to be a sort of decorative 'white noise', a background to the reception area of the TheaterHaus which contains snippets of discernable spatial narrative, but which in no way demands to be listened to, rather forming a peripheral and repetitive moving image relating to what occurs within the confines of performance spaces in general.

Triangle Table I

This is the prototype for the tables that will be used in an exhibition in May (the theme is "Salon" and the tables will be used for canapes etc). When the workshop re-opens in a few weeks there will hopefully be time to make around 6 more of them...
The project is a collaboration with Kate Mactiernan.

Bestiary

The animals I am currently sharing my days with.
Illustrations that came from Character I in LifeBin

Folly Ring I (as in -one day I would like to make more of them...:0)

I made a couple of desk accessories -a paperweight and a stamp- as well, but its rather expensive to cast them as I made them very substantial, so only this one is in silver (the others are stuck in wax, sitting stillborn in a bell-jar). Hopefully one day someone will want a version of this to be cast in gold, which I think would have a much nicer feel to it, catch the light better, and age and dent more noticeably over time...

Recollections From Within The Crowd

A little story adapted from Character I and Character II over on LifeBin
This is the final version of this edit with one narrator:

This is the film undoubled (original cut). The final edit will come at some point in the next couple of months and will ideally have me as three separate narrators in the screen, each telling a different story, and overlapping each other in the way the the same image overlaps itself in this version. The sound will switch from one narrator to the next leaving the last silent speaker gesticulating together with the next to speak in what will hopefully be a visual display that jars slightly with what is being said, but not to the point of rendering it incomprehensible, while adding an atmosphere which alludes to the point of the work: namely the layering of a space with multiple viewpoints/subjective perspectives.

People Watching People

Im chuffed like Thomas the Tank Engine with this one. Heiko Kalmbach suggested that I make an architecturaly oriented graphical animation to go with the spoken word of a text I wrote on LifeBin that is about four spaces of performance where emphasis is as much on the space surrounding and between the spectators themselves as on the stage. The result is this, replete with chalk-board diagram aesthetic, rotating lines, and opportune dip-to-blacks at moments of nice text...

The Church Of Perpetual Experimentation

"The Church of Perpetual Experimentation" was my final year project in Diploma 9 under Natasha Sandmeier and Monia DeMarchi, and involved the design of a sprawling new Church in the southern Roman suburb of EUR, set within the fictive context of a new pontificate that is devoted to the massive restucturing and expansion of the church, its liturgies and its architecture. The site in EUR is set aside by the new pope as a field of experimentation where the doctrinal and liturgical innovations being developed over the Tiber in the Vatican are put immediately to test and trial with the practising -and non-practising- public. The project was developed in many directions at the same time, and while having a strong technical basis which was pulled right through to 1:1 fragments being manufactured, it was also surrounded by an elaborate mythology which was explored through alot of writings (relating to the inventions of the theologians and the presentation of their ideas in a sort of Council of Trent set of guidelines, as well as the chains of consequences and events surrounding the whole endeavour), and many drawings that contained silent spatial narratives. The final presentation was through the film below which pulled everything together into a short explanation. The original version was alot more story-based, but I remade it with a stronger emphasis on formal issues.

This is the intr0duction to the Film:


This is the film which presents in a compressed form the story of the whole project:


This is the Pope's Inaugural Speech that initiated the experiment:

When waking with the sun and then ploughing fields or tending to sheep or sweating in the smithy all day until the sun set was the breadth of man’s horizon;
When the written word was a mystical cypher of which man knew nothing;
When Nature was vast, terrifying, dangerous and inexplicable;
When death wasn’t only an idea -something one knew would happen one day- but was a smell to be avoided in the streets;
When the body was so often a burden of pain to be suffered and from which there was no respite;
When life was such a narrow path of tedium peppered with horror and misery, the Church proclaimed the transcendence of every individual beyond his sores and abscesses; the Church placed man’s life and his death within an inimitable and beautiful plan of salvation beyond the stink of corpses; the Church extracted man from his narrow and incessant toil to celebrate creation and existence, which, rather than being cursed for its hardship, was glorified and illuminated in ceremony and stone. Man was overwhelmed by the intoxicating mixture of liturgy, icon, statue and story; he was convinced through the mysteries of the Church and their representations that life indeed did have meaning, that indeed there was something magical and profound about existence, about life, and also about pain and suffering.
But now that the rising of the sun has little significance, man wakes as he pleases, where he pleases, and knows that during the coming day his horizons may extend to embrace the globe;
Now that knowledge clings to each man as thickly as an odour, as thickly as a smell that emanates from the autopsy table on which lies the dissected, analysed, categorised and preserved remnants of Nature’s mysteries;
Now that death and pain have been marginalised to the periphery of vision, to specially quarantined buildings;
Now that the body is so often a collection of parts to be perfected or changed at will;
Now that magic and representation have haemorrhaged into every corner of the Real, and stand for nothing but distraction;
Now that life is such a vast landscape of endless choice peppered with information, opportunity and answers, the Church must proclaim the transcendence of every individual beyond the boredom of perfection; the Church must place man’s boundless freedom and his unlimited emptiness back within a plan of salvation beyond the cadaver of mystery. The Church must rediscover and reclaim the magic of representation and re-inject it with an amazement of existence. The Church must plunge itself into the contemporary world to find the raw material, the techniques with which it can once again convince man that indeed life does have meaning, that indeed there is something magical and profound about existence: that man’s great plague -the blight of meaninglessness- is no different today than it was when pain and suffering ruled, only now it is impossible to seduce man into belief with only ceremony and stone.
A lot more is needed, man is waiting, and to that effect, on the eve of my election I am announcing the convention of the Third Vatican Council. The Grand Conciglio will no doubt continue to examine our faith in great depth for many years to come, and beyond my time in the pontificate. Taking this into consideration I will be focusing my efforts on the formation of a sub-council which will endeavour to re-engage the laity through a direct, and possibly radical reconstruction of our tangible presence in their lives. In order that the ideas and decisions of this sub-council do not remain as exciting intention imprisoned on paper, in order that from the first steps of this Grand Council we will lead by concrete example, in order that the laity may engage with us while we are proceeding, in order for these things to happen I have set aside a parcel of land in this very city, the heart of our faith, so that it may become the physical register of our will to change.
I hereby convene the Third Vatican Council, convene and chair the First Committee for the Architecture of Ecclesiastical Engagement, and I hereby initiate the founding of the Church of Perpetual Experimentation.

An image of an interior area in the Church after many years of Experimentation:


The vaults under construction with a performance of Spectacular Mass happening below:


The main chapters of the Committee's publication as a monument:


A drawing explaining the sequence of events and developments in the life of the Church (including a controversial visit by Giorgia):




The Technical plate of the church's vaults:


Three sections running through the site:








The plan, cut at several levels, and sometimes looking up, sometimes down:






A drawing of the Spectacular Staircases:


Interior views of a Recorporation Room and Corridor, both in the subterranean realm of the Recorpisteries:


















A piece of one of the Mausochapeleum towers:






A model of the Altar-floats that move around the Spectacular Staircases celebrating Mass:






One of the Climbing-Frame chandeliers, and Building-Block columns in the Multi-Nave area:










These are some of the models through which I developed the structural integrity of the vaulting system of the church and aligned their decorative schemes (tiling and profile carving) with that logic:
























Two voussoirs were taken from one of the vaults and built out of Travertine in collaboration with Porcelli-Marmi in Pietrasanta, Tuscany:










The landscape of the Spectacular Staircases that run through the church were made by Cordek with a huge milling machine into an 8metre long foam sculpture which was shipped to the AA in London as the base for our unit's end of year exhibition:






Everyone painting the foam in Bedford Square:







The final crazy exhibition. We called the landscape the "Altar", there was a space underneath it called the "crypt" and the wall of images was the "Iconostasis". For better images see the AADIP9 blog .

Altar, Crypt and Exhibition headers:






The exhibition:




In October there was the AAHonours exhibition and this was my display (with my mother watching the movie, and thats me talking to Jake Choi in the second pic):

Stop-Start Animations With Objects

These two clips and the clip of me in the mirror are actually a part of an 8minute long film which cannot be uploaded to youtube because it has copyrighted music on it (and the film doesnt work at all w/out the soundtrack)... oh well!

The first


And the second:

In The Mirror In The Morning

an extract from the film that the rotation animation above were taken from.

One Way To Look At Capri

This is the short film I made as a response to a week and a half visit to the island of Capri in the bay of naples. I felt that its strength as a circumscribed unit was immense. The conveyance of its many particularly singular historic moments, geographical delights, architectural relics and present comfortable, but ever allusive atmosphere was constant and thorough; whether through the numerous architectural details or the incessant spiel of the locals, Capri expressed itself constantly and clearly as a discernable atmosphere, historical ecology, and object...

This had all culminated in a two day search (and then a day filming, of which footage I only used about 10seconds!) for the place from where all the hotels and holiday homes bought their fake godesses, Marys, Tiberiuses, doric and ionic columns. It was a large, intriguing place on the road from Anacapri to the lighthouse on the eastern end of the island, and just packed full of all the items which the island itself, by 2007, was totally packed full of -and builders were busily loading more and more of the stuff on the backs of their little specially altered piaggio-cum-trucks, to take away and fill the tiny island even more.

This film was incorporated into Objectification later on.

a diagram:

Objectification: A Parable of Posession

This is the tale of a man, his life's only journey, his only passionate love, and the solitude at its end...

The Film in Two Parts:



A Summary/Explanation:


Some images of the work on show at the moment in the Corridor Gallery, Hackney Road (you can see the film at the top of the stairs on the tv). I would like to say a big thank you to Amita, Vicky, Emma and Christoph for inviting me to show there:









A diagram of the general plot structure:


and a note on the title:



The sculptures (as with most work on the blog) are available in a limited series. Please contact me if you are interested in purchasing one.

Two Men and their Monuments

These are two short stories taken from a film about different ways to map and experience a city, the film is half french and half english, and I seem to have lost the version with the subtitles so Im just going to post the two in English which are about two men who are in different ways infatuated with different monuments in their city. Monuments of the kind that are hosts to daily visits by hundreds of busloads of tourists going on those mad whistlestop tours of Europe.

One Way To Look At An Empty Shop (Film)

youtube description:
"Taking the moment in a scene in Godard's LeMepris when the camera pans around a statue of Zeus as a starting point, I imagined the director, prior to the film's conception, walking into a bric-a-brac shop with nobody in it and full of old statues and furniture, and beginning to form his ideas of the overall plot and characters in the film through the items scattered around him."

HandBin description:
This was the second film that I made, and its quite dear to me as it was around the making of it that I began to be fascinated by the presence of highly constructed artifacts, by the ability of objects, films, paintings, and buildings to acquire a life of their own more than, but relying on, and complementary to, their materiality. A life that is affirmed and vivified by the attention and contemplation of observers, but which cannot exist without, and relies entirely upon an efficacy which stems from the level of completeness bestowed upon the item by its creator, a form of conclusiveness which encloses the object in on itself as a contained unity of meaning that is entirely independent of its origin, of the artist. Like the unexplainable moment of liquefaction that is unique to every material, I imagine that there is a point for each artist, for each object that he makes when it reaches independence and sets sail on its own as something more than his or her creation, and something more than the material it is made up of, something that is so strongly of-itself that all future gazes, all future thoughts stemming from apprehending its forms, will, although necessarily each developing thoughts stemming from the observer's own experiences and mind, nonetheless catch a glimmer of the light which the object will give off like the radiation released over the course of its aesthetic half-life. The film imagines Jean-Luc Godard reaching the moment when the characters, plot, colours, scenes, and atmospheres of his film Le Mepris coalesce in his mind to start forming the image of the kind of completeness described above. This happens in a bric-a-brac shop full of pitiful and mundane objects, but things that nonetheless together act as a static reflection of what is forming in his mind, and aids and accompanies the events of intuition taking their own course in his head…

oh, and I starting looking at duration in regards to observing the object, so coming at it from both ends, the initila creative act and the later apprehension of the object in time by an observer... you can have a look at what I wrote on the second page with drawings and text below the movie.




and a couple of explanatory pages:

Chapters, Shapes and Synapses

Images from two projects, the first (Mr A) involved the mapping out of the daily routine of a rather defeated man, and then inverting it throught the construction of a dream world space in which the architecture serves to take him on a roller coaster ride that unravels the absurd hermeticism of his environment. The next project (the Bs) follows the relationship of a newly married couple and their relationship with their new house, and architect over twenty years. They re-build their terrace house bit by bit, as money becomes available over the years, and develop certain excentricities in their habits which partially come from the eccentricities in their architecture, and partially feed into the next architectural phase making it even odder, and so on until they end up with a house so idiosyncratic it is impossible to sell.

Two Drawings

The first drawing was a catalyst/excuse for a rather long investigation into centralised spaces based on primary geometries and hierarchical subdivisions both vertical and lateral; I mde models and learnt how to project for domical forms, sections of cones etc, and ended up with this large decoratie drawing which I have always wanted to turn into a dining table.... any takers!? :0)

The next one was just a preamble to the drawings for "MyHotel" below in another post...

Shelves

Some shelves I designed for my old flat. Copper panels sitting flush in steel frames of varying thickness depending on the size of the books that were to be sitting on them.

Architectural Objects

ScaryCute Jewelry

A pair of Pendants taken from one of the Chapter Header Designs from the Church of Perpetual Experimentation book... too detailed for lost-wax and for hand engraving, so they were laser cut. Laser-cut gold, its so Bond!