I found representing the tent through orthographic drawing useful. Most were fairly easy and straightforward, but the nature of the tent (very few parallel lines) made it harder. I found the axonometric the hardest to get my head around.
‘Conventional thinking tells us that architectural drawings are a means to an end, a vehicle by which information is transmitted - they do not play the same role or have the same value as fine art. CJ Lim does away with these preconceptions and challenges the limits between "architectonics" and his environment by calling on kinematic architecture, whose interactive volumes are open to the most diverse fluctuations. This architecture lacks "interiority" in the usual sense, and has become "externalised" in view of the continual adaptability of its components to the activities of the occupants and to the environment. CJ was part of a generation of students at the Architectural Association whose milieu demanded a reappraisal of that status. The debate may be determined, for those who see the drawing as an unchallenged force and continue for those who celebrate its speculative and propositional power. I feel that CJ would argue that these drawings are a vehicle, for he can see their physical realisation in his minds eye, but for most, they are a fantastic virtuoso performance of line and paint, deliberately and obstinately abstract, brilliant compositionally, a web of form that conjures a complex world, some of which might be realised, some that will always remain an enigma. CJ's cultural background must surely influence what we see, layer upon layer; the curious paradox of the pedantically practical coupled with wilful fantasy and an often naive disregard for the limits of modern technology’ I have very much enjoyed looking at CJ’s work and process. His lust to create poetic, eccentric and often impossible architecture is refreshing and inspirational. The most important aspect of his work in my opinion is his sense of humour; ‘I want my projects to be funny, architects in general take their work to seriously, wit and humour is a very big part of our work’.
Heath Robinson CJ Lim explains that his ‘very, very favourite inspiration is definitely Heath Robinson. Because he thinks outside the box’
Robinson, Heath.W 1973, INVENTIONS: United Kingdom: Duckworth
Final Drawing
“Nocturnal Tower, Smithfield Market” CJ Lim 2007
For my final piece I want to try and emulate CJ Lim’s ‘Nocturnal Tower, Smithfields Market’. This was the winning entry for the 2007 Royal Academy Summer Exhibition. It was inspired by the story of the three pigs, although the straw, stick and brick houses are now towers and instead of being set in woodland, they are to be found in Smithfield meat market. The visuals for the scheme are presented in Lim’s characteristic style – intricate, painstakingly cut out collage, combined with highly detailed line drawings. As befits a building devoted to pigs and their by-products, the drawings are presented in glass vitrines etched with the outline of a plate of bacon and eggs.
Each of the towers has a clear purpose, explains Lim: “The straw tower allows air to cure the pork for its required time before being cooked, while the tower of sticks houses meat for smoking. Smoke wafts between the gaps of straws and sticks, while adding flavours to the smoked pork. The tower of brick is the safe home; a collection of pork recipes spans over many levels and are bookmarked by numerous beds. Here, at sunrise, the night meat porters can take refuge from their labour.”
As well as a restaurant – serving an all pork menu – visitors to the pig towers can have all their senses stimulated: “At the feet of the three towers lies an invisible orchard. Visitors to this virtual apple orchard experience an ephemeral space described by scents. By day, as the virtual apple tree is darkened by the tower's shadow, each atomiser releases the sweet smell of an apple. A huge range of apples populates the orchard, each apple with its unique scent.”
This was an initial drawing trying to get to grips with CJ’s style. I wanted to create a final piece that was poetic and funny. I also want to work from stories, continuing the idea of make believe and Heath Robinsons impossible inventions. I want to create a narrative, which tells the story of what the tent evokes in me, but through CJ Lim’s visionary style.
Photoshop Manipulation to create a ‘Wolf Butcher’