sarah brown EXPLORING PERSPECTIVE d r u // l a n d s c a p e : a r c h i t e c t u r e
C O N T E N T S // A KNOWN LANDSCAPE
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QUARRIES
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AN EXPLORATION OF QUARRYING
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PERSPECTIVE : THE EXPLORATION OF AN INHABITANT
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INVERSION
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LANDSCAPE / ARCHITECTURE
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THINKING THROUGH A MACHINE
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CONCLUSION
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A P P E N D I X //
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PROCESS
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PRECEDENTS
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BIBLIOGRAPHY
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REFERENCES
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PICTURE SOURCES
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ABSTRACT
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A K N O W N L A N D S C A P E // My home, ‘Top of The Dale’, was built in 1871 as The Dale Quarry manager’s cottage in the Derbyshire Dales. The Dale Quarry is one of three limestone quarries that surround our cottage; Middle Peak & Stoneycroft being the other two. Whilst the quarries have lain idle for years, they were the lifeblood of our community for over a decade providing a livelihood for the residents after the demise of the lead mines. Nowadays all are well frequented but for different purposes. Although close in proximity, Middle Peak quarry and Stoney Wood present stark differences: one still has a real feel of an abandoned quarry, with bare stone faces and ledges; the other feels like a rolling hill and valley, firmly cemented within the Derbyshire Dales. One has been replanted through human intervention, the other is slowly re-growing naturally; one is used as a community space where people gather, for example for open-air concerts (static space); the other is used as a transitional space for walkers (dynamic space). These landscapes were originally created by the removal of material (limestone for our homes and roads), and with a dramatic change in level from their highest to lowest points, they sit within the rolling landscape of hills and valleys of the Dales perfectly – indeed, Stoney Wood, now fully replanted and thriving with vegetation, looks as if it was never a quarry at all. The quarries are intrinsically tied to their surroundings, influencing their surroundings as much as their surroundings influence them. Although each a completely different landscape born from identical methods, one can identify individual, positive characteristics in each space. Middle Peak Quarry projects itself quite bluntly; when walking into the quarry, the sheer rock face meets the visitor immediately – a stark reminder of its former life which provokes thoughts of its past industry. Stoney Wood draws you in, yielding comfort and familiarity in a way that one feels instantly
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Middle Peak Quarry
settled and at home within the landscape – a feeling not normally experienced in such a vast area. Each quarry is an evolution of a landscape, taken in contrasting directions, portrayed and experienced differently. My experiences in quarries extend further, to one within another reused quarry. Stoney Cove was transformed into a recreational dive site after many attempts to remove floodwater from the redundant quarry failed. When diving in the space, one experiences the quarry in an alternative way: being within the quarry, yet not on the ground plane. While suspended within the water, one is contained between two datum lines: the ground of the quarry, and the water surface above. The landscape is transformed and a new experience is gained; a contrasting experience to that gained when the quarry is empty and bare. One inhabits the space in a way that was never originally intended at the landscapes creation, but one which has developed through the current needs of its new inhabitants. These three examples of evolution within a specific nature of landscape provide a different view on a single characteristic space, changing inhabitant’s perspective on a space, which is usually defined as a harsh industrial landscape.
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Q U A R R I E S // Landscapes are created through process. Whether that be a natural process or man made, all landscapes derive from a process of manipulating and shaping various material therefore creating an alternative environment. The Grand Canyon, for example, was created through a constant process of gallons of water surging through it for thousands of years, a process which still continues now, shaping the dramatic landscape that so many instantly recognise today. The way each landscape reacts to the process depends on the material qualities of that landscape, and the process itself. Some processes take mere weeks to complete, others, like the Grand Canyon, continue for decades, constantly manipulating and re-shaping the landscape. Some are more methodical in their execution, while others are more organic; these create dramatically different results. Quarries are an example of the first process. Methodical and systematic in their creation, quarries start with a landscape; currently unaltered terrain, waiting to be manipulated and manufactured. Quarries are created to extract desirable rock and minerals, the sites for which are carefully selected for the natural resources found in a certain area. Quarry locations are therefore prescribed and selective, each inhabiting a specific environment for the current needs. After selecting an area, extraction begins; layer by layer, piece by piece, material is removed from the surface of the earth. By doing this systematically, a well is created in the earth resulting in a staggered environment complete with its own infrastructure and environmental conditions; natural soft landscaping has been removed and the hard material below is exposed, showing a harsh, almost clinical domain. When quarries are in use, they are seen as functional, industrial landscapes, and not considered beautiful. However, after the quarries have been retired from work, visitors to these spaces can find beauty within the individual qualities of each domain; although this beauty is not always necessarily obviously found.
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A N E X P L O R A T I O N O F Q U A R R Y I N G // To better explore quarries as a landscape, an investigation was conducted to mimic the material removal process used in quarries. This was not to mirror the exact process of material removal, but to explore an alternative method to generate varying results and fully explore the landscape conditions and outcome. Small blocks were stacked into a cube creating a landscape to alter with the quarrying method. To select the block of material to be removed, a die was thrown and a pattern followed to see where the material would be removed (see diagrams in appendix one). Each number thrown on the die related to a column of blocks and the top block of the selected column was removed from the cube. Eventually when no other blocks could be removed from the column selected by the random number generated by the die, the process stopped. This process was repeated with varying methods (shown in the diagrams in appendix) to see the different results generated. Each outcome resulted in a quarrying landscape that seemed to suggest many small, deep quarries within a large expanse of landscape. The spaces were too deep to really inhabit and explore; each portraying a deep well or mine more than a quarry.
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Following the first exploration of quarrying methods and spaces, another exploration was conducted, this time with larger blocks spread over a shallower and wider area. This provided a larger surface area in which to create the ‘quarry’ which could not result in deep narrow spaces, and which could be examined in greater detail when material had been removed. An alternative random number generating method was used (see appendix two) to correspond to the size of the grid set out by the blocks, and to provide a more intuitive and less sporadic set of numbers. This generated many more consistent, larger spaces within the grid that could be explored as individual landscapes. The spaces created within the gaps from the removed blocks became large enough to photograph and explore in the context of human scale; one could really start to imagine how people could inhabit these spaces if the landscape was scaled up.
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MAPPING
THE PROCESS
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PERSPECTIVE : THE EXPLORATION
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During its lifecycle, a quarry may present many various forms of existence within the one space. Starting with the original landscape, unaltered by man, the land is then manipulated to fulfil the current requirements, becoming an industrial centre of activity. After the required material gains have been exhausted, the quarry is decommissioned, becoming redundant in the specific purpose for which it was solely created. The quarry can then take one of two new paths; lie disused, never inhabited, or be reinvigorated by a new activity within the space. The notion of re-use provides a new perspective on the space. Depending on how the quarry is reused, an inhabitant perceives the space in varying ways. Referring back to Stoney Cove, diving within such an environment provides a very surreal experience. During its industrial life as a quarry, an occupant of the space sees the void within the centre of the quarry. The inhabitant is metaphorically and physically removed from this void, as the tangible mass of the material removed from it cannot be perceived. When transformed into a dive site, the inhabitant sees the quarry with a totally new perspective. The void is now filled with a mass, replacing the material removed during the working days of the quarry with water; a mass, which, unlike the material removed, can be inhabited directly. Divers are in fact ‘inhabiting the void’; an experience that would not have been possible in such a manner before the transformation of the landscape. The datum line has changed; previously presented by the ground plane of the quarry, it is now also provided by the surface line of the water. Assuming the water is clear enough, the diver can see both datum lines, and the whole perspective of the space changes. Contained between two equally prominent planes, the diver is linked to both, exploring the space between in an almost abstract manner.
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The larger block model created by the random number quarrying method presented a foundation from which to explore these notions of changing perspective within a landscape. Photographs of the model when enlarged presented real, tangible spaces to inhabit; and because these spaces were so abstract, were not linked to any specific genre of space. When inhabitants step into a new landscape or space, they understand it by relating it back to landscapes and spaces they have experienced previously. By creating such an abstract environment, these previous connections to known landscapes are rendered void, and the inhabitant can form brand new, unbiased perspectives of the space. Zander Olsen explores this idea in his work Tree, Line1 (see appendix) where the installation begins to question the understanding of a scene from a certain view point.
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I N V E R S I O N // Taking the notion of diving within the void further lead to research into caves, haloclines and ice diving. Caves, similar to quarries, are areas of carved out material, now presented as a void. Mirroring quarry diving, caves present two datum lines, with the inhabitant occupying the void between the two. This environment could be inverted and presented upside down and would convey similar spatial characteristics, due to the similarity in datum lines Haloclines are a condition presented in water when there is a meeting of two different salinity levels occupying the same space2. The denser, saltier water sinks below the lighter freshwater, creating a split between the two. Passing between the two when diving, the halocline provides a surreal visual effect; when looking from the lower level up towards the higher, it appears as though the higher level is air. Seen from the higher level of water, another diver ascending from the lower level appears to be reaching the surface but in fact is still underwater. This phenomenon provides a unique perspective on a space that, when inhabiting the void, presents a clear definition between two individual circumstances within the same substance. Ice diving is the act of diving below a sheet of ice. In this scenario, the solid datum line is above the diver, instead of below, as presented in the quarry or any other conventional diving environment. This upside down world presents an ideal environment in which an inhabitant can question the perception of conventional space, and their relationship to it. All these settings present unique circumstances in which a diver inhabiting the void gains new perspectives on each space. The environments can be abstracted and manipulated to create new landscapes, presenting yet again a new perspective to the inhabitant. To present this theory in an unbiased manner, the following photo has been unsaturated to remove all colours and any suggestion of the original environment.
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i c e d i v i n g // 39
The photograph was taken by a scuba diver on an ice dive. The photograph is first shown inverted, to show the abstract image, removed from its original context, the second in its original orientation. When inverted, the photograph, not manipulated in any other way, suggests a different landscape, one in which the inhabitant could stand on the solid datum line at the bottom of the picture. This landscape is similar to ones the viewer has seen before (possibly a desert landscape), and so is easily understood and mentally inhabited based on previous interactions with similar spaces. When restored to its original orientation and saturation, the environment is now presented in an unconventional manner, to which the viewer is unaccustomed. The viewer must now reconsider the image shown and re-assess the environment in order to connect with the space. Although a change in perspective is mostly seen through physical change, sometimes this adaptation of space is not visible. The vacant space within a quarry is seen as a negative void; however, one can look at this as a positive structure; if all the material removed from the quarry was pieced back together in the same shape that it was removed from the landscape, a positive structure would be created that would be the inverse of the hole in the quarry. The blocks removed from the large ‘quarry’ were pieced together to form the inverse of the ground plane created during the quarrying method; creating a positive of the negative void – the reassembled void. Iceberg Project created a similar environment with their Big Orbits3 installation, creating an alternative mirrored structure to the eroded, manipulated original form (see appendix). The two individual elements of the thinking machine could be orientated in various positions to create a variety of spatial conditions, providing two different planes that could be inhabited on top, below and within each plane, as well as between the two. Maya Lin’s work Systematic Landscapes4 challenges the perspective the viewer has of the installed landscapes by encouraging to interact directly with them (see appendix). By creating such large landscapes, viewers can walk on top, under and around each landscape to fully connect with each one, and gain new perspectives on how each one works. 41
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L A N D S C A P E / A R C H I T E C T U R E // By creating such an abstract landscape, the environment can be interpreted as various habitats. The environment can be viewed as a landscape, either crafted by natural means or by human intervention, or alternatively, seen as an architectural composition, with interconnecting spaces to inhabit, each with their own spatial qualities. The notion that a quarry is a landscape sculpted by man poses the question whether the environment is landscape or architecture. Man has altered all the case study quarries within this exploration since their lives as functional quarries; Middle Peak quarry, still in its abandoned industrial state, has been left isolated by man due to its hazardous conditions; Stoney Wood, although natural in appearance, was replanted and rejuvenated by man; Stoney Cove, although flooded naturally due to its geographical positioning below sea level, has been adapted by man to suit the current needs of that space. Although created by man, these habitats are conventionally perceived as landscapes instead of architectural interventions due to the vast scale of the spaces and direct connection to the sky above. Despite the fact that these all are external habitats and located within such vast natural landscapes, these spaces could be seen as architectural interventions. Middle Peak quarry is the easiest in which to visualise this notion, as there is a minimal amount of soft landscaping within it to impose the impression of a landscape. If reduced in scale and covered, this environment could very much project the feelings of a void within a building. An architectural intervention of a roof structure could be imposed on top of the quarry to continue the surrounding datum lines and natural rise and fall of the wider context to see if inhabitants of the space would have an alternative perception of the space when enclosed within such a large environment. Quarried landscapes are ideal environments to challenge the defined separation between landscape and architecture, composed of elements of both. Quarries present the inhabitant with a blurred line between the two, encouraging them to inhabit the space not only as either a landscape or architecture, but both. 47
THINKING THROUGH A MACHINE
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The thinking machine was created by the second larger quarrying method and pieced together to form a solid mass. The individual blocks of material now fused together are read as two individual planes, each as a single entity: a manufactured landscape. These two planes work together to explore the notions of perspective and space, as well as landscape and architecture set out within this study. By creating a mechanism that allows the thinking machine to be adjusted on a vertical axis, various environments can be explored and inhabited within the one landscape. The height the reassembled void is positioned above the ground plane imposes varying atmospheres on the spaces between the two structures. The lower the void, the more intimate and almost intimidating the spaces appear, squeezed between the two planes. Raising the reassembled void higher created almost cathedral-like volumes – vast spaces to explore, relative to the scale imposed within the case study landscapes explored previously. Due to the random number generation method and the amount of blocks removed from the ground plane, some areas of the reassembled void are absent of blocks, and provide glimpses through to the sky above. Within this abstract and systematic landscape, these framed images of the sky provide the inhabitant with some connection to the wider context. By creating the thinking machine at the selected scale, the inhabitant can explore the spaces physically by inserting their head into the spaces and fully engaging with the environment around them. The participant can adjust the height of the reassembled void to change the conditions they are experiencing to provide a range of spaces from restricted, cramped volumes, to a completely uncovered ground plane. These diverse landscapes, although fabricated from the same two structures, provide the inhabitant with varying perspectives of the same environment.
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Each element can be completely inverted to provide alternative ground and roof planes. Referring back to earlier explorations, when such an abstract plane is used as ground, the lines are blurred between whether it was originally the ground or a higher plane. The composition of the space is completely within the imagination of the explorer.
H O W T O U S E T H E T H I N K I N G M A C H I N E // To experience the spaces created within the thinking machine, the viewer inserts their head within the gap between the two planes, or as close to it as possible. To adjust the size of the space between the two planes, gently lift the top plane and screw the hidden bolts up and down to raise of lower the top plane. Lower upper plane back down on to bolts and repeat the viewing experience again.
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C O N C L U S I O N // Throughout this exploration the notion of landscape and architecture has been scrutinised, as well as the definition of an individual space and an inhabitant’s perspective and perception of that space. The thinking machine, devised early on in the exploration process, has acted as a catalyst for all avenues of contemplation throughout the study; it is both informative and exploratory in its design. Used to interpret quarrying methods, as well as the notion of varying perspectives within a space, the thinking machine continues to provide new areas for investigation. The notions of positive and negative, as well as all the conditions for quarry re-use, stemmed from exploiting the boundaries of the thinking machine. Architecturally created buildings and landscapes should be designed in such a way that an inhabitant’s perception and perspective of that space is constantly challenged. Each inhabitant will naturally perceive architecture and landscape differently to another; however, spaces that we design should continue to challenge the presumptions of each inhabitant for buildings to keep their longevity and enable re-use and adaptation over time. The idea that landscape and architecture are as one within these created habitats is one that can clearly be demonstrated within the thinking machine and one that can be used within all other areas of design. Architects, although employed to create structures with exceptional spatial qualities shouldn’t be restricted, either contractually or personally, by the idea that these should stop within the building envelope. These spaces should interact with each other and continue to blur the definition between architecture and landscape. Architects, after all, are creators of space. Whether this is internal or external should not be a question needing answering – it is both.
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M A T E R I A L R E M O V A L P R O C E S S : S M A L L Q U A R R Y //
PROCESS ONE // LINES Following a path across the cube and back to the start of the next line. Counting along the number shown on the die and removing that block. If the same column was selected again, the top block from that column was removed, digging down further into the quarry. 57
PROCESS TWO // ROUND Following a path round in a circle. Counting round the number shown on the die and removing that block. If the same column was selected again, the top block from that column was removed, digging down further into the quarry. 59
L A R G E Q U A R R Y : R A N D O M N U M B E R G E N E R A T O R //
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The numbers generated by the random number generator provided a sequence for removing blocks from the thinking machine quarry. The blocks were removed according to the next number in the sequence in the pattern shown on the following page. Each row of numbers generated corresponded to the number of rows in the thinking machine, and the number generated related to the block in that row that corresponded to that number. The first row from the generator is shown in the diagram on the follwing page. The process was continued until a block could no longer be removed because both the two blocks in that column had already been removed due to previous numbers in the sequence. The process shown here indicates (in red) which the stopping block was in the sequence. The rest of the numbers in the sequence (shown in grey) weren’t used for the quarry as the process was stopped.
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M A T E R I A L R E M O V A L P R O C E S S : T H I N K I N G M A C H I N E //
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PRECEDENTS
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EDWARD
B U R T Y N S K Y //
Photographing manufactured landscapes, Edward Burtynsky captures the raw essence of human intervention on a landscape for industrial means. Frequently devoid of people, the photographs depict an alien world, created, yet uninhabited by man. Along with quarries, Burtynsky’s art portrays shipbreaking, tire yards, and aircraft boneyards, all of which have been created by man through the imposition of industry. These landscapes, although not all intentionally created so, have shaped the previous natural environment, through removing natural material or imposing new structures, and clearly show the force of man on nature. One must question whether a man made environment is constructive or destructive, as well as whether this is a landscape or architecture.
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E X P E R I E N C I N G T H E V O I D : J D C A R C H I T E C T S // “Architecture turned into enjoyment and participation: Instead of contemplating the void, we propose to “experience” it by letting a trampoline net spiral down the rotunda space. The experience plays on Wright’s original scenography of the Guggenheim to visit the exhibition downwards.”
By creating a new interactive zone within the void of the Guggenheim museum, JDC Architects are encouraging the visitor to gain a new perspective on a space usually devoid of human interaction. The mesh used to create the walking plane provides enough stability for the participant to engage with this new positive space within the void, but yet is not too solid to cloud the original character of the space; one can still define between the original void and the new positive structure with it. Provided with an alternate perspective, the participant is forced to reconsider the conditions in which they are stood; are they within the void, or within a new positive structure?
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B I G O R B I T S : I C E B E R G P R O J E C T // “Space is constructed by the body in motion. The exterior placement of an interior geometry. 4600 shipping palettes were stacked in a gallery space, adjoining a courtyard of identical shape. Using elliptical geometry an ovoid volume was carved from the palette stack. Simultaneously, the removed pieces were reassembled in the courtyard as an ovoid solid. The work functions as a scale, balancing positive and negative, apogee and centre. A lever of space.�
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T R E E , L I N E : Z A N D E R O L S E N // “This is an on-going series of constructed photographs rooted in the forest. These works, carried out in Surrey, Hampshire and Wales, involve site specific interventions in the landscape, ‘wrapping’ trees with white material to construct a visual relationship between tree, not-tree and the line of horizon according to the camera’s viewpoint.”
Zander Olsen forces viewers to look twice at an otherwise ordinary recurrent scene, challenging the preconceived perspective and perceptions of the space. By wrapping the tree trunks in white material, the sky and landscape in the background is engaged with the trunks in the foreground, forcing the viewer to look longer to analyse the scene in front of them, and to understand the space they are within in comparison to the usual state of that particular landscape. By engaging the viewer for longer than is normally necessary to understand their surroundings, Olsen provides the viewer with an additional perspective for contemplation, encouraging the viewer experience the space in an unconventional way that wouldn’t have been possible without the installation.
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S Y S T E M A T I C L A N D S C A P E : M A Y A L I N // “Maya Lin: Three Ways of Looking at the Earth, Selections from Systematic Landscapes opens at PaceWildenstein on September 10 and will be on view through October 24, 2009 Originated at the Henry Art Gallery, Seattle, WA, 2006 Organized by Richard Andrews, Director of the Henry Art Gallery, the exhibition shows how Lin, in her new work, continues to explore landscape as both form and content. According to Andrews, “Maya Lin has an extraordinary ability to convey complex and poetic ideas using simple forms and natural materials, wedding a deep interest in the forces and forms of nature with a long term investigation into the possibilities of sculpture to embody meaning.” This exhibit is the first to bring the immersive and environmentally encompassing qualities of her large outdoor installations into the confines of a museum space.”
By creating such large interactive installations, Lin encourages visitors to fully engage with each landscape, walking underneath, on top of, and between the elements of each environment. When walking round the exhibition, visitors can better relate to the landscapes because they are inhabiting them directly, instead of viewing a scale model or photograph.
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BIBLIOGRAPHY R E F E R E N C E S
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B I B L I O G R A P H Y // BBC Planet Earth Episode 4 Caves- the halocline - YouTube . 2012. BBC Planet Earth Episode 4 Caves- the halocline - YouTube . [ONLINE] Available at: http://www.youtube.com/watch?v=dHn80f3lAUs. [Accessed 03 January 2012]. The Blue Planet, 2001, The Deep, BBC (can be seen on the following YouTube link: Underwater Lake - YouTube . 2012. Underwater Lake - YouTube . [ONLINE] Available at: http://www.youtube.com/watch?v=fnkHRtpTztc. [Accessed 19 February 2012]. Burtynsky, E, 2003. Manufactured Landscapes: The Photographs of Edward Burtynsky. 1ST Edition. Yale University Press. Experiencing the Void | JDS Architects. 2012. Experiencing the Void | JDS Architects. [ONLINE] Available at: http://jdsa.eu/rot/#. [Accessed 27 December 2011]. Filling the void - Architecture from wood pallets. 2012. Filling the void - Architecture from wood pallets. [ONLINE] Available at:http:// www.sutmundo.com/filling-the-void-architecture-from-wood-pallets/. [Accessed 19 February 2012]. ICEBERG: Big Orbits. 2012. ICEBERG: Big Orbits. [ONLINE] Available at: http://www.icebergproject.org/Big%20Orbit/bigorbits01. htm. [Accessed 27 December 2011]. Lin, M, 2006, Systematic Landscapes, MAYA LIN STUDIO. 2012. MAYA LIN STUDIO. [ONLINE] Available at:http://www.mayalin.com/. [Accessed 20 January 2012]. Mitchell, M, 2009. Australian Minescapes: Edward Burtynsky. Edition. Flowers East. Scottish Resources Group. 2012. Scottish Resources Group. [ONLINE] Available at: http://www.scottishresources.com/Projects/ FifeEarth/default.aspx Urbaniak, G. C., & Plous, S. (2011). Research Randomizer (Version 3.0) [Computer software], http://www.randomizer.org/ Zander :: Tree, Line.. 2012. Zander :: Tree, Line.. [ONLINE] Available at:http://www.zanderolsen.com/Tree_Line.html. [Accessed 12 January 2012].
R E F E R E N C E S // 1. Olsen, Z, Tree, Line, 2012 2. BBC, The Blue Planet, 2001 3. Iceberg Project, Big Orbits, 2012 4. Lin, M, Systematic Landscapes, 2006
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PICTURE
S O U R C E S //
Cover: Author’s own Page 3: Author’s own Page 5: Author’s own Page 6: stoney cove Page 8: Both authors’ own Page 9: Both authors’ own Page 10: Author’s own Page 11: Diagram - Author’s own Page 12: Diagram - Author’s own Page 13: Author’s own Page 14: Author’s own Page 15: Author’s own Page 16: Diagrams - Author’s own Page 19: http://www.plongeesousglace.com/galerie_1/ - Edited by author Page 20: http://www.plongeesousglace.com/galerie_1/ Page 22: Author’s own Page 23: Author’s own Page 25: Author’s own Page 26: Author’s own Page 29: Diagram – authors’ own Page 30: Diagram - authors’ own Page 31: http://www.randomizer.org/form.htm Page 32: http://www.randomizer.org/form.htm Page 33: Diagram – authors’ own Page 35: Both http://www.edwardburtynsky.com/ Page 36: Both http://www.designboom.com/weblog/cat/9/view/9054/jds-architects-experiencing-the-void.html Page 37: Both http://www.sutmundo.com/filling-the-void-architecture-from-wood-pallets/ Page 38: Both http://www.zanderolsen.com/Tree_Line.html Page 39: http://www.dpreview.com/galleries/2919202988/photos/1519364 Page 40: www.¬quotestemple.¬com/¬Quotes/¬maya-¬lin-¬maya-¬lin-¬if-¬we-¬cant-¬face-¬death-¬well-¬never-¬overcome- ¬it-¬you--have-¬to-¬look Page 41: http://www.picornot.com/keyword/maya+lin+systematic+landscapes Page 42: http://archinotes.blogspot.com/2010_04_01_archive.html Page 43: Both http://www.mayalin.com/
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A B S T R A C T // Perspective, along with beauty, is within the eye of the beholder. Perspective - both physical and metaphorical - and beauty, are dependent on the position of the inhabitant within a landscape: a position in time, space, or both. During this exploration, ideas of perspective are examined through studying the life cycle of a quarry and the various perspectives this provides within one space. By devising a process to create a quarried landscape, the notions of positive and negative space are explored and tested to see whether a visitor’s perspective changes when spaces are displayed conventionally in the perspective to which he or she are accustomed, as well as in unfamiliar circumstances that may challenge the presupposition of each space. The notion of void space is challenged and manipulated by removing areas of material in a quarried landscape and refabricating the remnants to create an alternative landscape; the reassembled void. These conventional and alternative landscapes present an alternative perspective of the space and challenge preconceptions of known landscapes.
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