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Stuart Gomes | Ila Colley
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part i
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C
ONTENTS
the brief C₁ ontained – the collection C₂ ontainer – the architecture C₃ ontext – the city
4-9 51-55 46-51
9-19
20-45 56-65 66-73
the museum C₄ uration – the agenda the domestic C₅ reation – the beginning C₆ ultivation – the process C₇ lutter – the agenda-less
C₁ ontained C₁₁ one basket C₁₂ two chairs C₁₃ one doorway C₁₄ twelve ceramics C₁₅ see C₂₂ room C₁₆ see C₃₀ city C₁₇ see C₇ clutter
5, 9,17, 27, 51, 55, 68 5, 11, 17, 33, 51, 55 5,13, 17, 37, 39, 51,55 5, 15, 17, 43, 51, 55 22, 31 27, 51, 58, 59 48, 59, 66, 67, 70, 71
C₂ ontainer C₂₁ museum C₂₂ room C₂₂₁ Kirkcaldy room C₂₃ house C₂₃₁ Adam House C₂₄ see C₃₀ city
9, 11, 13, 15, 16 19, 52, 53 19, 21, 31, 49 49, 71 52, 53, 55, 58 47, 49, 51, 59
C₃ ontext C₃₀ city C₃₁ cellular C₃₂ dynamic C₃₃ see C₆ cultivated C₃₄ see C₂ container
46, 47 49 47, 59, 66, 67, 68, 69 46 52, 53, 58
C₄ uration C₅ reation C₅₁ craft C₅₁₁ weave C₅₁₂ carve C₅₁₃ cast C₅₂ industry C₅₃ ornament C₅₄ place [mat]
42, 53, 61, 66 , 67, 68, 69 61 61 61 26, 44, 46 11, 13, 19, 21, 37, 70 58, 59, 61
C₆ ultivation C₆₁ gather C₆₂ journey C₆₃ repeat
C₇ lutter C₇₁ multiple C₇₂ misplace C₇₃ see C₆₃ repeat C₇₄ see C₅₄ place [holder]
15, 59, 65, 70 37, 39, 43 9, 25, 59, 66, 67, 68, 69 6, 47, 51, 62, 66
56, 57, 59. 62, 63, 64, 65, 66, 67, 68, 69 17, 32, 50 , 51, 52, 53 37, 47, 49
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A house for one basket, two chairs, one doorway and twelve ceramics Jamie Forde | Stuart Gomes | Adeola Olanrewaju | Ila Colley
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ABSTRACT C₁₄
re- C₅, C₃₀ C₆₂ C₁
. C₂₂₁
. C₂.
C₁
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C₅,
C₂₃₁ C₆₁ C₆
C₅₁. ,
C₁₄,
C₁ C₂₁,
. C₃,
C₇.
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ABSTRACT The authorship of museum curation jars with the essence of domestic items. This project attempts to regain the informality of the home through curating, then re-creating, the objects chosen from the National Museum of Scotland. The collection is first understood as presenting a series of domestic qualities that link them to each other through their use, human scale and their craft. These are drawn out through analysis of their formal display, and then abstracted into new containers. Thus begins a process of extending the boundary of containment, from their original cabinets to rooms, to city scale organisation. Each experiment takes cue from a domestic scale, structural and organisational, and is allegorised through the survey drawing of both the Kirkcaldy room within the museum and Adam House studio. Incorporating the programme of the city as trade district, the programme of journey through home and the concept of supper as a meeting of each object, we presented The Table Laid, an installation-drawing that seeks to display the domestic as a collection that is created, cultivated and in a mobile state of clutter. Through performing the supper ritual, the collection is condensed as we clear the table, becomes a new object in context, exiting in the in-between domesticity of event and everyday.
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C₁₁
C₁₂
C₁₃
C₁₄
Wicker basket, bag-shaped, found in a peat moss at Esha Ness, Northmaven, Shetland. Stained oak armchair & silver painted chair designed by Charles Rennie Mackintosh.
Stonework from doorways at Jedburgh Abbey, 12th or early 13th century.
Grey glazed earthenware mug Coffee cup of white glazed porcelain Earthenware soup plate of oriental red One of the Over hailes porcelain mugs Earthenware plate, marked Belfield potters Earthenware plate with an all-over green glaze Warming plate marked Crowe Teapot, Rockingham glaze, etched leaf design Circular white glazed earthenware soup plate Teapot of dabware by Morrison and Crawford Agateware cheese dish inscribed Mrs Nevin Stoneware plate inscribed ‘Waste Not Want Not’
collection
contained: sketches at 1:250
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container The first glance outwards from collection is literal study of the place held by each artifact within the museum. Container suggests boundary and the questions were where, in what direction and for what purpose. Boundary as exclusivity appear to be the opposite of domestic, yet as these studies would later relate, the home is full of containers containing others.
The program of the C₂ inside C₂ inside C₂ etc becomes crucial: what is bounding what? Is it preciousness at the heart? Is it emphasis on care? Is it utility? And, most importantly, are these notions translatable from institution to home? Program included materiality, age, scale and hierarchy. As a base for re-C₂, Ade’s drawing of the cabinet was used. This contained his basket and its wider architectural hierarchy and became a testing ground for domestic rules within the museum agenda.
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C₂ :
container: C₅₄ place [mat]
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With few roads and little need to exchange goods, most materials were carried on the backs of people or ponies, in baskets like these. Heavier loads were moved cross country on simple sledges. Baskets were woven from local plants.The same weaving techniques were used in making household containers, furnishings and even parts of buildings.
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container: C₄ : C₁₁ one basket 1:5
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Stained oak armchair designed by Charles Rennie Mackintosh and made by Francis Smith in 1898 for the Argyle Street Tea Rooms, Glasgow. Furniture for this tearoom was Mackintosh’s first major commission for Kate Cranston. This type of heavy, dark chair was intended for the male domain of the Smoking and Billiards Rooms. Plaster Panel from a frieze designed by Charles Rennie Mackintosh for the front salon in the Willow Tea Rooms, Glasgow, 1903. Mackintosh chose the willow tree as the theme because the tearooms stood in Sauchiehall Street – sauch is Scots for Willow. Silver-painted chair designed by Charles Rennie Mackintosh in 1903 for the Room de Luxe at the Willow Tea Room’s, Glasgow. Francis Smith Provided 34 chairs, of two different designs, costing £2,155 od each.
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1:20
container: C₄ : C₁₂ two chairs 1:20
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Stonework from doorways at Jedburgh Abbey, 12th or early 13th century. The abbey at Jedburgh in the Borders was one of many founded at the time, bringing orders of monks from the continent of Europe. With the monks came European ideas and styles of building, and a strengthening of European contacts.
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container: C₄ : C₁₃ one doorway 1:50
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Scottish Pottery: Pottery has been made in Scotland since prehistoric times, but it was not until the middle of the 18th century that domestic pottery began to be mass produced on an industrial scale. From about 1750 until the 1930s Scotland’s potteries were producing utilitarian and decorative wares for home and foreign markets.
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container: C₄ : C₁₄ twelve ceramics 1:20
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curated containment
The contained under their museum curatorship: explorations into the connotations of cabinet, podium. Organisation and level change begins to structure a domestic journey. Kiln room | Glass basket for a basket | Head of a hall for Mackintosh Keystone of container: entrance
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1:20
container: C₄ : C₂₁ museum 1:50
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A HOUSE FOR A survey was carried out of a room in the National Museum of Scotland. This room helped enhance our idea of domesticity, its role and setting, and the metamorphosis that it has experienced through history. The room assembles domestic items ranging from the 17th Century to the 19th Century and explores the context in which they functioned. Wood Panelling from the first floor of a house in Kirkcaldy High Street from the 17th Century surrounded the perimeter of the room with the exception of the entrance wall into the room. The paneling was also extended to the ceiling. Arm Chairs from the Dunfermline Palace made in the 18th Century were also placed in 2 corners of the room. This had a symbiosis with the Mackintosh Chairs surveyed in the collection. Also, a glass frame which contained ceramics and plates from the 19th Century dominated the presence of the North Wall. The further exploration made was recontextualizing our collection into this domestic themed room. The placement of the artifact in the collection in the room underwent iterations which were then finalized by the image shown. The Mackintosh Chairs are situated at the corners of the room similarly to the existing arm chairs in the setting, while the basket is placed in vertical glass frame which emulates the verticality of the columns and similarity in appearance of the basket. The Forteviot arch is placed at the entrance as it most suitable there and has the symbolism attached to it; access into a castle or palace. The ceramics were placed in the initial glass frame found in the room for easy display and emphasis on the fragility of the artifacts.
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container: C₂ : C₂₂₁ Kirkcaldy room 1:50
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THE SCALE WITHIN THE SCALE An interesting outlook at the contained is the container in which it is housed. The paradox then becomes, whether the container is the collection or part of the collection or whether the container is more important than or just as important as the collection it houses. This underlying question led to a series of investigation, not just of the artifact selected but rather of a section of the floor in the museum where the artifact was housed. The output of this investigation is the drawing shown, though the outlook was based on seeing the container through a ‘volumic lens’. This approach of seeing the container as volumes led to an interesting play of scales of the container, while drawing out the concept of the container within a container.
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container: C₂ : C₂₂₁ Kirkcaldy room
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a base to curate The journey starts with the Forteviot arch while overlaying the basket on an elevated pedestal adjacent to it. The ceramics become the centre of the piece as that could easily be interpreted as the overwhelming theme; domestics. The Mackintosh chairs are placed at the ends accordingly. The model then starts to demonstrate the housing qualities of parts of the weave of the basket and starts to create a gridded structure in which other collections could be housed. The drawing and model explores the role of the basket in its context and gives an iterative feedback of this, while adopting the language of volumic expression.. The ‘base’ of the model brings it back to a smaller context which is a section of the first floor Adam House studio. This base then houses the larger context in which the basket is housed but also helps create a systemic journey using a placement system. This system was inspired by our placement of the artifact in the room surveyed in the museum..
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container: C₂ : C₅ creation
1:100
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Newhaven Harbour boats and lorries 1936 Š edinphoto.org.uk
context for catching The model explores the relationship between our artifacts and the city context. It investigates the changes of the city context in history from the 19th Century till date while maintaining its parallels . The 'base' of the model is the part of the city that had the strongest relationship to my artifact (basket) which is Newhaven. This relationship is embedded in the fact that Newhaven is used for fishing villages. Suggestive pieces of our artifacts are then placed in this context while maintaining the placement ideas we had from the Kirkcaldy House. The materiality of the model tries to incorporate our main idea of domesticity hence wax and meshes were used for the smaller scale items and for city based objects copper wire was used. The city based objects explore important changes in Newhaven such as circulation, changes in housing and settlement patterns.
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container: C₂ : C₅ creation 1:10 | 1:5 | 1:10
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32
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domestic [en]cased The spatial qualities of the individual container began to evolve with the manipulation of scale and orientation. Models and drawings played a key role in this process by allowing the exploration of the tangential and nontangential properties of this container. In this cyclical process the idea developed offering visually rich views created by planar screens of varying line densities. The drawings had elements true to the original container (and contained) with new spatial progressions.
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container: container: C₂ : C₂₂₁ Kirkcaldy room C₅ creation
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domestic [en]cased In the continued manipulation of the contained the elemental forms device a new concept of container. The progressive journey of spaces reimagines the layers of history within the contained, the series of divisions continually expand out alongside time. The abstracted exploration of the unimaginable container finally becomes materialised with the motifs of Charles Rennie Mackintosh and the tectonics of the Museum of Scotland.
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container: C₂ : C₅ creation 1:5 | 1:10
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stepped stones The process of bringing the stones into Ade’s model was inspired by the work of John Hejduk’s Rita Project. In this project Hejduk plays with scale of the ‘pilots’ in the space and their relativeness to one another. The stones are used in a similar manner.They are used in two different scales and in two different ways within the space of Ade’s model. The smaller scale stones are scaled to five times their initial size. This allows them to be used as columns to hold up the box before which is imagined to be able to host all the other domestic objects in a domestic setting. This relates to the heavy nature and structural essence of stone. The larger stones further play with scale as well as the materiality of stone.
These stones are scaled ten times their original size. At this scale they are large enough to interact more with the space. The stones are offset to their original placements. Due to the stones being used as an entrance way this prolongs the threshold and brings it into the space. The weightlessness given to the stones plays with their heavy materiality and contrast with the way they are previously used in the model. Overall this exploration into materiality and scale opened new functionalities of the stones. This progressed into the theme of domesticity with the stones being able to be used as more than an entrance way but as a threshold into domesticity.
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container: C₂ : C₅ creation
1:100 | 1:500
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stones strung The model seeks to link the stones to their historic city context. It is situated at the Cannongate – old threshold to the burgh. Paths move through the model, creating links to the further city. Raised cylinder connections the Cannogate to the kilns at Portabello. Links are created between the stones conveying the integrity of the stones.
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container: C₂ : C₅ creation 1:10 | 1:5 | 1:5
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ceramics carousel
While extrapolating on the base drawing for the week, three main strands emerged in the development of the kiln room. First, there was the theme of elevation, both literally and metaphorically. The container of the museum was restricting in terms of the formality of its display; when it comes to valuable items we encase, protect and elevate. The ceramics were braced unnaturally, facing the viewer, missing the domestic allusion in which things are used repetitively, misplaced, mishandled, broken, fixed, dirtied, washed, forgotten and reclaimed. The domestic “buzz” wasn’t a part of these show pieces, and though often the expensive ceramics were displayed rather than used, it was interesting to promote interaction and movement in this programme.
Starting with movement, a survey of spinning plates (and bowls and glasses) was undertaken. These discovered shapes, often broken circles and uneven spirals, were translated into the wire bracing armature. The second focus was continuation and representation of materials. Despite the formality of the wire fixings used in the museum, this materiality also connotated the habitual of sink-side drying racks. In this model it was reimagined like art school sliding or spinning racks which would continue the “spin” of the kiln room. Finally, the inverse forms of slip-casting, the process of using plaster casts to reproduce pottery on an industrial scale, is also used, as the model images pieces emerging from the shells of others.
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container: C₂ : C₅ creation
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ceramics carousel In the city-counter, ther ceramic container asserts itself as object in a landscape, as the kilns at Portobello did. Also like the kilns, it’s curved form is suggestive of its collection. Continuing the wire armature, this interpretation considers the action of a container spilling or being filled, while using this directional suggestion to assert space. The slip cast model sought to allude to the craft of the collection while extending the idea of the collected being released from its case.
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container: C₂ : C₅ creation 1:10 | 1:5 | 1:5
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context
Analysing form, programme and the tectonic interfaces of the domestic pieces, the wider context of the city was subconsciously asserting itself. The cultural naturally manifested geographically. Within domestic parameters, the city starts to appear as a dense web in which our pieces appear everywhere, again and again. Each unit contains a variant or various catalogues like ours. But this is tricky: this mode of containment is cellular rather than dynamic and there was a pull to reach beyond the boundary of home, back to origins or the origin of each individual piece. Taking cue from the Kirkcaldy house, the containers are mapped in relation to their trade areas in the 1800s. This spatial organisation would then promote the city as a wider container of the notion home, in which each piece had a distinct room for its creation, sharing, and use.
The main area identified for each item were: Newhaven for the basket, used by fishermen, Portobello for the ceramics, where Prestonpans pottery was based and kilns still exist, the master carpenter title for the chairs is associated with the castle and the doorway is at the gate of the Old City, Royal Mile. This drawing experiments with the mapping and re-ordering of our containers from city-scale boundaries back to domestic scale.
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1:250
context: C₃ : C₃₀ city 1:20,000
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1:250
house on a high street
The Kirkcaldy room is situated back in its context on the Lang Toon, named after the town’s extremely long high street. Here the domestic containers display as a cellular structure, relating to its distinct parts by mirroring, and the contained become universal.This cellular pattern is not rigid, however, but the product of cultivation and sympotomatic of clutter.
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context: C₃ : C₃₁ cellular 1:3,000 | 1:700
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house out of hierarchy
The Kirkcaldy room is mapped from its place in the museum, its original orientation in the Lang Toon, to a position in Adam House. Bringing it into a [previously] domestic container, the room becomes object itself, either part of the collection or as cabinet. The journey of the items down Chambers Street to their new organisation in Adam house is considered as a refocusing as they move from their curational agenda and formal organisation. Perhaps, moving to the domestic doman, formality will be retained in the form of utility. Within Adam House, we begin to lay the table.
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context: C₃ : C₃₂ dynamic 1:5,000 | 1:1000
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adam house Beginning with a group associative exercise from the collection studies, a discussion of pathways emerged. Through the container of Adam House there was a focus on the domestic journey, what order this might take between the pieces and what informed it and whether it was always linear, chronological or ongoing. Interested in the pure multiplicity of different ideas, and therefore multiplicity of different lived realities in the home, this drawing sought to represent numerousness within boundary of house.
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Within the plan exists one focal route consisting of each container, overlaid with many others and interrupted with the physical manifest of the containers themselves. Also exercised was the idea of domestic blitz, in which the humbler, haphazard of everyday living comes into view. The tectonics between each designed container started to inform the next programme in positioning them together and curation within real space.
container: C₂ : C₂₃₁ Adam House (left) 1:100
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rooms on the route
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The model explores the system journey through a domestic setting while re-contextualizing our artefacts in Adam House.
Hermeneutical investigation of the ethereal container through standardised architectural manipulation.
The carousel becomes a domestic scaled and encased space that works in shadows and movement of shadows between translucent screens.
The use of wire decontextualizes the stones and their materiality. The heavy block form takes up the materiality of the stones. The materiality is inversed.
container: C₂ : C₂₃₁ Adam House iso 1:100
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C₆₁
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gather
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Individual Containers
Adam House
City/ Display Table
Kirkcaldy Townhouse Plan
Museum Townhouse Plan
Individual Containers
Adam House
City/ Display Table
Kirkcaldy Townhouse Plan
Adam House 1:1 Kirkcaldy Townhouse Plan 1:2 Museum Townhouse Plan 1:2 Display Table 1:2 Containers 1:200 City 1:4000
Museum Townhouse Plan
a table made
The installation applies the design methodology Contained, Container and Context to re-establish the relationships of Scottish domesticity. A Russian doll of scales, this installation proposed each C as a container asserting a context around it. Having considered each designed element at various scales, there existed aspects of interaction and habitability in the models proposed for this table that become obsolete or nostalgic. The creation of the table itself was to express craft as the curated home expresses craft. The counter would present as both city and ceiling of the Kirkcaldy house. At the latter scale, 1:2, the model scales up from the Kirkcaldy room outline to fill its space. In this narrative each city container for C₁₁, C₁₂, C₁₃, C₁₄ is enlarged to cabinet-sized elements on the second floor, the industrial hall, which was our starting and focal space.
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A TABLE LAID
cultivation: C₆ : C₆₁ gather (left) 1:50 | 1:25 (right) 1:5
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a table laid
A table is laid in preparation for the event. Craft was an unresolved aspect of the Table Laid. Where had craft been missed? Could it be reincarnated? Why was craft so important anyway? Curation had always been a running theme between museum and domestic. However, craft is something learnt, habitual, is the opposite of occasion. Only by living the ritual of the supper could we bring craft to the table at this stage. The supper was a vehicle for the analysis, discussion and re-creation of our model into something collected from the chaos of gather.
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cultivation: C₆ : C₆₁ gather
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the table cloth is ironed and laid, the place mats are set, the utensils are arranged, the heart of the supper is brought to the table on trays in cooking containers
lay the table
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the gathered are seated, the utensils are handled, used, misplaced, containers are exchanged with glances and voices and each of these relations forms a path
collection communion
cultivation: C₆ : C₆₠gather
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the gathered voices ebb, the tablecloth comes into view and with it the chaos of the supper, so the gathered start to gather all the pieces back into their containers
collect the chaos
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the supper has been re-designed in its aftermath and for this placeholder of the event must be found a place in the home that repeats itself
clear the table
cultivation: C₆ : C₆₠gather
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Table Ritual Drawing Clearing
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Table Ritual Drawing Eating
clutter: C₇ : C₇₃ repeat 1:10 | 1:50 laying | communion 71
Table Ritual Drawing Setting
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Table Ritual Drawing Folding
clutter: C₇ : C₇₃ repeat 1:10 | 1:50 collecting | clearing 73
the sacred chaos of home
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Table Ritual Drawing Combined
clutter: C₇ : C₇₃ repeat 1:10 | 1:50
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the sacred chaos as a home a living cabinet
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1
Right Iso Hidden Line Scale: Actual Size
Right Iso Hidden Line Scale: Actual Size
Left Iso Hidden
Scale: Actual Size
1
Left Iso Hidden
Scale: Actual Size
C₇ :
clutter: C₃₃ cultivated 1:100 (bottom) in Circus Lane 77
part ii
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A house for one basket, two chairs, one doorway and twelve ceramics
cutting through the domestic Stuart Gomes | Ila Colley
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ABSTRACT ii In part II we move C₂₃ . A modern mews building becomes the context of the C₄ intervention. At C₂₄₁ the meaning of C₁ is reconsidered, and swapped for found domestic objects, treating the building fabric in the same way. This different domestic calls for an up to date interpretation of the exhibit: the C₆₁₃ as C₆₁₂ in its C₃ necessity. Objection is made to the over-considered order of the architect designed house by invoking the table rituals. Specifically, taking cue from the C₄₁ ritual at the end of the supper, the same flux and C₇₂ programme of the lived domestic is introduced along specific fault lines. Key tools are ones of C₇₄ and C₇₃₁. Following MattaClark’s mode of interruption to the banal, floors and walls are removed before returning integrity to the building through individual housings. These structures are derived from the C₄₁ drawings; the new collection is hung out to dry over the interrupted cellular format of the house. An C₇₃ between these begins to suggest the interdependence of household C₆₁, of a C₆₂ that maintains certain groundings in the belonging of each object to a specific cell. Cutting through the Domestic proposes that the museum can exist as conversation with intimate realities.
ABSTRACT II In part II we move house. A modern mews building becomes the context of the curational intervention. At 10a Circus Lane the meaning of collection is reconsidered, and swapped for found domestic objects, treating the building fabric in the same way. This different domestic calls for an up to date interpretation of the exhibit: the profane as sacred in its contextual necessity. Objection is made to the over-considered order of the architect designed house by invoking the table rituals. Specifically, taking cue from the folding ritual at the end of the supper, the same flux and replacemisplace programme of the lived domestic is introduced along specific fault lines. Key tools are ones of cutting and crutch. Following MattaClark’s mode of interruption to the banal, floors and walls are removed before returning integrity to the building through individual housings. These structures are derived from the folding drawings; the new collection is hung out to dry over the interrupted cellular format of the house. An armature between these begins to suggest the interdependence of household rituals, of a journey that maintains certain groundings in the belonging of each object to a specific cell. Cutting through the Domestic proposes that the museum can exist as conversation with intimate realities.
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C
C₁ ontained C₁₁ one bowl C₁₂ one chair C₁₃ one bedside lamp C₁₄ one alarm clock C₁₅ one kettle C₁₆ one soap dispenser C₁₇ see C₂₂ room C₁₈ see C₄₀ consumer C19 see C₇ clutter C₂ ontainer C₂₁ museum C₂₂ room C₂₂₁ folded room C₂₃ house C₂₃₁ carriage house C₂₄ home C₂₄₁ 10a Circus Lane C₃ ontext C₃₀ house C₃₁ cellular C₃₂ dynamic C₃₃ see C₆ cultivated C₃₄ see C₂ container C₄ uration C₄₀ consumer C₄₁ folded C₅ reation C₅₁ need C₅₁₁ hold C₅₁₂ be held C₅₁₃ see C₅₁₄ wake C₅₁₅ warm C₅₁₆ wash
ONTENTS
II
86, 88, 91, 103, 117, 119, 129 86, 88, 91, 103, 117, 119, 129 86, 88, 91, 103, 117, 119, 129 86, 88, 91, 103, 111, 115, 117, 119, 129 86, 88, 91, 103, 112, 117, 119, 129 86, 88, 91, 103, 117, 119, 129 83, 93, 109 88, 91 85, 88, 93, 119
103 - 115 83, 88, 128, 129 91, 97, 100, 103 85, 93, 120, 121 89 87, 91 86, 118 82, 85, 113 46, 47 49 88, 89 82, 86, 87 86, 93 89, 117, 119 86, 91 87, 89 42, 53, 61, 66 , 67, 68, 69 61 61 86, 91 93, 95, 96, 97, 99 110, 111 11, 13, 19, 21, 37, 70 58, 59, 61
86, 88, 117, 118, 119 86, 88, 117, 118, 119 86, 88, 117, 118, 119 86, 88, 117, 118, 119 86, 88, 117, 118, 119 86, 88, 117, 118, 119
C₆ ultivation C₆₁ ritual C₆₁₂ sacred C₆₁₃ profane C₆₂ journey C₆₃ repeat
91, 99, 117 88, 89, 91, 121 119, 107 88, 103, 121, 129
C₇ lutter C₇₁ multiple C₇₁₂ masses C₇₂ misplace C₇₃ armature C₇₃₁ crutch C₇₄ cutting C₇₄₁ contour C₇₄₂ corruption
83, 88, 99, 129 103, 105, 107, 111, 113, 129 121, 128 99, 100, 107, 115 105, 115 85, 95, 109 83, 105, 111 95, 109, 125, 128
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CLUTTER IN THE MEWS The ‘back-stage’ of the Royal Circus, Circus Lane would have been a place of flux and clutter, though not without system. One of the final supper rituals was the gathering of models into one housing. 10a Circus Lane is approached with this to hand. Engaging Jacob’s idea of organised complexity, such explorations are layered in order to communicate the domestic take-over these carriage-houses have experienced in the last century. Here the housings that had been designed for the museum collection begin to inform space-making in a new fabric.
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C₇ :
clutter: C₂₃₁ carriage house 1:100
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moving in To begin with, the ritual of collecting is superimposed onto the plot at 10a. The interaction of a central vessel with fault lines starts to inform the museum typology. The building, designed by local architect Richard Murphy, was built in 2005, and examples the mews as popular sites of housing redevelopment. The building can be likened to the bespoke design of the National Museum of Scotland; just as the museum is designed for its collection, the house is designed around the pre-existing ritual belongings of the clients. Interrupting this closed format, the project begins by categorising 10a as a found object into which curational intervention occurs.
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C₆₁:
gather: C₄ urated 1:50 | 1:200
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A
86
B
N
C₃₀:
context:
C₂₄₁ 10a Circus Lane 1:100 | 1:200 house context | mews context 87
11 12 1 2 10 9 3 4 8 7 6 5
a found collection
C₁₁ one bowl C₁₂ one chair C₁₃ one bedside lamp C₁₄ one alarm clock C₁₅ one kettle C₁₆ one soap dispenser
C₅₁ need
C₅₁₁ hold C₅₁₂ be held C₅₁₃ see C₅₁₄ wake C₅₁₅ warm C₅₁₆ wash
In line with 10a as a found form, it followed that the formal collection from the museum needed to be reconsidered. Using the townhouse to mews dynamic as expressing the subordinate, we find a new collection from within 10a. The project sets an aim: to communicate this new collection of mundane equivalents as sacred in their domestic necessity.
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C₃:
context: C₆₁₂ sacred 1:20 | 1:250
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A
B
C₃:
context: C₆₁₃ profane 1:100
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gordon matta-clark
Gordon Matta-Clark’s deconstructive approach to the building environment was emulated whilst beginning to cut and corrupt Murphy’s House. This process was first examined through an overlay of one of the table drawings and the house at 10a. Matta-Clark removes specific shapes from the building fabric, leaving the building structure exposed. The exposed flesh and bones of the building come to represent the considered conventional. This is the domestic that is interupted in this project, though other methods of corruption begin to be employing, such as folding and weaving.
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C₄₁:
folded: C₇₄ cutting 1:200
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folding the floor
Tests using tracing paper and drawings of exisisting floorplans were carried out.These folds, first informing alterations to building fabric, become three dimensional, introducing new forms. Lines suspended in walls develop an extra structure, or web, holding together elements of the old building.
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1;200
C₄₁:
folded: C₇₄ cutting trace 1:200
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folding fault lines Derrived from the table-cloth folding ritual undertaken, the lines made across the table are translated to Matta-Clark’s cuts. The original folding process followed paths across the city from trade districts to a centre-point. In the house context, they become partitions across its own smaller cellular structure.Taken individually, these snapshot shapes start to direct and house.
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Table Ritual Drawing Folding
C₄₁:
folded: C₃₂ dynamic 1:10 | 1:50
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house unstrung Folds become objects within a structure. As they are strung out toward the contained, these containers-to-be drag lines behind them. These new fault lines that begin as leftovers become sacred when they are made a reality.
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1;200
C₄₁:
folded: C₃₁ cellular 1:10 | 1:50
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from inside out One iteration of the museum armature follows the dynamic of gather. This narrative capitalises on a museum of modest domestic, whose gaze is inwards. However, this centralisation can also be interpreted as having an outward dynamic. Countering this, imposition of chaos begins to align with the existing logic of the house, intertwining with existing architecture.
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C₇:
clutter: C₇₃ armature 1:2 of 1:50 | 1:100
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Folded Masses
Mass’ form taken as lofts of appropriated folding drawing. Lofting emphasises the form of the folded drawing, making the form appear folded. This is an essential to the narrative of the masses.
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C₂:
container: C₇₁₂ masses 1:100
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Contour Armature
The armature mirrors contours of the architecture in 10a. The masses each have bespoke armature which contours to the architecture around them as well as acting as a crutch to support the mass. Each mass has a specific domestic exhibit based on its position within Murphy’s House. This is displayed at eye level - a consistent 1.25m. The masses contour to people viewing the exhibits.
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Mass w. Armature and Object 1:10
Scale 1;50
Mass w. Armature and Object 1:50
container: C₂: C₄₁ folded 1:100
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Crutched Armature
The armature becomes more specific to the architecture. The armature corrupts the architecture of the front faรงade, in doing so, continues the narrative from interior to exterior and vis-a-versa. The armature also becomes more focused to each mass. Each mass has its own armature. The armature now represents the motion of the exhibits moving into the masses from their original domestic setting.
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C₄:
curation: C₇₃₁ crutch 1:100 | 1:200
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Armature interception
Overextending its house context, the armature encroaches on the mews lane, out into the garden, and challenges the roof.The web becomes divider, becomes ‘wall’ as an idea of boundary. Modelling this enabled rationalisation of the programmatic implications of this amorphous structure.
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C₄:
curation: C₇₃₁ crutch 1:100 | 1:200
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Folding Sixteen* (Makers)
55/02: A sixteen* (makers) project creates a shelter with folded steel sheets and bespoke structures and connections. The masses (housings) in this project adopt a similar methodology. The steel sheets provide a skin, mimicking the table-cloth skin. The folding of the steel sheets relates the masses to their lofted folding drawing origin. Our structure works as planes, like in 55/02, and respond specifically to each massed form. The joints reciprocate each structure. The project is also used as a precedent for illustration as a design and communication device, involving process, detailing and representation.
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11 12 1 2 10 9 3 4 8 7 6 5
C₄:
curation: C₇₄₁ contour 1:20
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housing like a house
The detailing of each housing structure derrives details from the house fabric. A square module is punched through the skin where fixings and viewing portals are positioned.Their composite structure, as formed through whole rings of metal, mimics the detailing of the glazing frames in the original building, which are expressed as distinct and dynamic objects in the facade.
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C₄:
curation: C₃₁ cellular
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Grounding journey Each piece of armature is grounded in a recessed structure foundation. The armature continues underneath the ground floor. It connects all the masses on the ground floor together. The domestic chaos originates from the heart of the house. Two masses support the edges of the cut first floor. This crutches the chaos of the domestic.
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11 12 1 2 10 9 3 4 8 7 6 5
C₄:
curation: C₇₄₁ contour 1:50
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C₅:
creation: C₆₂ journey 1:50
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C₅:
creation: C₆₂ journey 1:50
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From found to folded to framed. A development in plan.
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C₄:
curation: C₇₂ misplace 1:200
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122
N
cutting through the domestic: C₃ ontext 1:200
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N
cutting through the domestic: Câ‚„ uration 1:100
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12 1 2 1011 9 3 4 8 7 6 5
cutting through the domestic: C₇₃ armature 1:100
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C₇₄ cutting
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cutting through the domestic: C₇₄₂ corruption | C₇₁₂ masses 1:100 [collection 1:20]
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A 1:50 model on plinth expresses the mews to townhouse tectonic and the changing collection into the 10a curation.The model splits along fault lines, allowing the viewer to actively engage in the design methodology of cutting.
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cutting through the domestic: C₅₁₁ hold 1:5| 1:2 of 1:50 model
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er t t
lu ₇ C
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