PROJECT ONE: PLAYTIME The Hidden Pottery
The Outsider
Looking for the ‘real’ Paris
FILM: PLAYTIME
Physically and mentally lost inside the city
Layers of reflections in glass
Control and Order
‘Skyfall’ (2012) fight scene
Spontaneity and Chaos
Reflections at Chipperfield’s Rowing Museum, Henley
FILM: PLAYTIME Observations
Loss of privacy and seclusion
FILM: PLAYTIME
Light and Silhouette
Folding book for collages has two faces: the front for display and the mechanism on the reverse
Layers create separation and isolation for the central character
Light Models recreating film moments
FILM: A BEAUTIFUL MIND (2001) Separation through light and layers
Plan 1
Plan 2 the waiting outsider the security guard the mysterious executive
Plan 3
Who is this man? Where is he coming from? What is the corridor concealing?
Teatro Olimpico, Vicenza
FILM: PLAYTIME (1959) Jacques Tati Analysing the corridor
Comic Scene (1551) Sebastiano Serlio
Tragic Scene (1551) Sebastiano Serlio
TWO-DIMENSIONALITY
In ‘Playtime’ and ‘Goodmorning’
SLIDING LAYERS
Communication between the buildings in ‘Goodmorning’
Collection and Exhibition Space
De-constructing the layers of a corridor in ‘Goodmorning’
Site: The corridor in ‘Playtime’
HIDDEN SPACE BEHIND THE CORRIDOR The Secret Collection
Layers between display and making / curating
V&A Ceramic Galleries and Workshop Stanton Williams Architects
Blurring the boundaries between making and displaying layers
POTTERY WORKSHOP Making and Displaying
Playtime
Shadow model of pottery display Reflections, transparency and illusion
Light and shadow effects with and on materials
POTTERY COLLECTION Light and Shadow
Complete integration of home and collection
Concealed rooms within/between rooms
Layering of the spaces and the collection in the small rooms
JOHN SOANES MUSEUM Displaying a collection
The Monk’s Parlour below the Picture Gallery
Dining room and library
Artefact in a recessed niche Moves between light and shadow throughout the course of the day as the daylight moves around the room.
COLLECTION: JOHN SOANES MUSEUM Natural Lighting
Use of skylights No loss of privacy as seen in ‘Playtime’
Lighting from the side
LIGHTING THE COLLECTION Natural and artificial lighting
Lighting from above
Concealing and revealing
The Craftsman appears from the workshop
CONCEPT
The Secret Craftsman
Chimney in Playtime
Hand-made
Machine-made
THE CRAFTSMAN
Craft vs standardisation
Canal and Factories, Lowry (1955)
Initial workshop sketches
Sketch plan of the workshop hidden behind the corridor
THE HIDDEN POTTERY
Ideas for the making space
Preparing the clay
Sounds of the kick-wheel will reach the corridor People will be drawn to explore through the sounds They will then discover the collection and the maker
Forming the pot
Display of pots ready for the kiln The sound is heard in the corridor A fleeting moment of beauty
Pots go into the kiln The fired pots cool A ‘pinging’ sound heard as the glaze cools and contracts It is as if the pots are singing
THE SOUND OF MAKING
Noises that will reach people in the corridor
The finished pots can then be exhibited and sold
The singing pot display. This is situated above the corridor so the sound of the glaze contracting is heard by the people below in the corridor.
Kiln level in the chimney
Hanging ceramic display Holburne Museum, Bath
Massing 1
Massing 2
Massing 3
Making level with light well
Storage basement level for clay
THE HIDDEN POTTERY
Massing the spaces behind the corridor
Ceramic House and Ningbo History Museum in China, Wang Su
Ceramic panels at the Holburne Museum, Bath
Terracotta tiled rooftops in Florence, Italy
MATERIAL INSPIRATION Terracotta and Ceramics
Movement of shadow across the wall to conceal and reveal the exhibits
Crevice in wall to let in light
Display niches at the John Soanes Museum
DESIGN DEVELOPMENT Heavy clay wall
Double skin of the chimney incorporates a light well for the making space Singing Pot display
Double skin of Brunelleschi’s dome
Masonry wall incorporates storage The workspace: St Jerome’s Study
Light display shelves embedded into the heavy masonry wall
DESIGN DEVELOPMENT Making and display spaces
Shadows disguising the display shelves from the corridor
Display niches at John Soanes Museum
Moving between the display shelves behind the corridor
DESIGN DEVELOPMENT
Display shelves behind the corridor
Tools for making textures
Pottery evolved from wooden basket-making and the use of textures is still inspired by this today
Clay texture experiments
MATERIAL: TEXTURE
Developing materials from texture explorations
1. Photograph the clay texture. Make it black/white in Photoshop and increase the contrast. 2. Take the image into Illustrator
Original clay texture
3. Use the Image Trace tool to vectorise the image. There are different types of Image Trace that can be selected for different engraving effects and thicknesses. 4. The laser-cutter recognises the black areas of the image and engraves the pattern into the material.
Image Trace Explorations
Grey-board Results
Default
High-fidelity Photo
Low-fidelity Photo
Three Colours
LASER ENGRAVING MATERIAL TEXTURES Grey board explorations
Six Colours
Sketched Art
Line Art
Technical
Vectorised Image-Trace Illustrator files
Photographs and plywood results
5mm deep engraving
LASER ENGRAVING MATERIAL TEXTURES Plywood explorations
Singing Pot storage
Making space and chimney
Corridor
Teatro Olimpico, Vicenza
FIRST MODEL DEVELOPMENTS Relationship to the corridor
Corridor plan with the grid
Massing within the grid
MODEL DEVELOPMENTS The Grid of ‘Playtime’
Singing Pot display above the corridor
Initial sketches: section and plan
DESIGN DEVELOPMENT Inhabiting the grid
Bending sequence
DESIGN DEVELOPMENT
Transforming the grid above the corridor
Structural Precedent Brockholes Visitor Centre (2011) Adam Khan Architects
DESIGN DEVELOPMENT
Transforming the grid above the corridor
A silhouette is the block, two-dimensional shape typically seen dark against a lighter screen. It is created when a person or solid object blocks the light from behind and a block colour copy of their outline is revealed on the surface. A silhouette is most crisp when the person or object is up close to the surface.
The hanging ‘singing’ pots would be visible from the exterior when the craft spaces are lit at night.
Precedent: St Puis Church, Meggan, Switzerland Translucent marble facade supported by steel trusses.:
SECRETS OF THE HIDDEN POTTERY
Revealing the collection with a translucent facade
Original Image: Wang Su Masonry Image Trace ‘default’ Conclusion This simple form of Image Trace lacks detail as there is significant contrast between the engraved and left areas. It is the most translucent test.
Black areas: ‘ENGRAVE’
White areas: leave ‘UNCUT’
Watercolour Paper Result
Paper - 200gsm/90lbs Speed - 35 Power - 10 Set to skip CUT lines (red) Set to ENGRAVE areas (black)
Testing the translucency
Image Trace ‘Three Colours’
Conclusion This form of Image Trace is more detailed but there is less contrast and less definition between the levels so is more opaque.
Colour 1: Black deepest cut
Colour 2: Grey mid-depth cut
Colour 3: Light grey leaves uncut
Watercolour Paper Result
LASER ENGRAVING MATERIAL EXPLORATIONS Translucency with Watercolour Paper
Testing the translucency
Using the Lasercutter to engrave perspex
Shining light through engraved translucent watercolour paper
Engraving the textures on 2mm thick perspex created a shadow that was the negative of the original image. The marks of the engraving produces a denser and darker shadow than in the watercolour paper tests.
LASER ENGRAVING MATERIAL EXPLORATIONS Translucency with Perspex and Watercolour Paper
Watercolour Paper, 400 gsm 0 cm
20 cm
40 cm
60 cm
80 cm
Conclusion Total loss of detail at 80cm from the screen. High detail from 0-20cm from the screen.
Fibre Glass, no resin 0 cm
20 cm
40 cm
60 cm
80 cm
Conclusion High level of detail shown here to be possible at 0cm Total loss of detail from 40cm High detail only at 0cm from the screen
FOCUSING THE SILHOUETTE Testing the clarity over distance
Clear Perspex, 3mm 0 cm
20 cm
40 cm
60 cm
80 cm
100 cm
120 cm
140 cm
Conclusion Adequate detail up to 60cm from the screen Incredibly high detail at 0cm Depth of plastic allows for more detail interesting silhouettes
FOCUSING THE SILHOUETTE Testing the clarity over distance
The hanging ‘singing’ dome for the cooling pots
Shadow of the ‘singing’ dome encourages eyes upwards
Revealing the craft spaces at night
Shadows of the ‘singing’ dome progress and lead visitors down the corridor to the collection
SHADOWS AND SILHOUETTES Uses in the Hidden Pottery
‘Singing’ dome back-lit by craft spaces and visible
Upwards view of the singing dome from the viewpoint of a visitor hearing its sounds in the corridor below and looking upwards to find out what it is and where it came from.
FIRST IMPRESSIONS FROM THE CORRIDOR Experiencing the ‘singing dome’
THE HIDDEN POTTERY
The craftsman enters the corridor
St Jerome’s study, Durer 1514
Access to ‘singing’ dome Workspace ‘Singing’ dome
Integrated workspaces, Atleier Bow wow
THE SECRET CRAFTSMAN Workshop above the corridor
Ground floor 1:100
First floor 1:100
the waiting outsider the security guard the mysterious executive/craftsman
Sectional Model through the corridor and development sketches
THE HIDDEN POTTERY
Interaction with the corridor
Display space Craftsman’s changing area Outside kiln wood storage Kiln Studio storage Singing dome Workspace
THE HIDDEN POTTERY Day / Night