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    The Space Between Drawing And Building: Architecture’s Ambiguous And Illusory Void
    Part 2 Dissertation 2016
    University of Kent, MArch

    ‘There exists a void between the drawings that an architect produces and the buildings of which they are a representation. This dissertation follows the evolution, and fluctuation, of this void – across which the architect’s drawings must be translated - from the fifteenth-century through to the contemporary digitalisation of architecture, in order to illustrate the possibilities afforded to the architect by an appreciation of the unlikeness of drawing and building.’

    This dissertation was nominated for the RIBA President’s Dissertation Medal 2016:

    http://www.presidentsmedals.com/Entry-15320

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    Destructive Beauty
    University of Kent, MArch

    ‘Situated on the northern tip of Helgoland - an island in the German Bight, around 70 kilometres from mainland Germany - this project leans on the island’s history as a home to ship-wreckers and proposes a small community sustained by the act of wrecking. In a similar vein to the destructive beauty of Homer’s Sirens – who project their beautiful voices in order to cause shipwrecks - the community employs the techniques of anamorphic projection to create an illusion with the deliberate intention of luring ships onto the rocky tidal flats which surround the island.

    The wreckage is hauled into a dry dock - carved into a naturally occurring elbow in the cliff to conceal the sinister act - and dismantled. The excavated chalk is carved - to form the elements that combine to create the illusion - and primitively bolted to a salvaged steel frame within which timber vessels are held, forming the internal environments of accommodation, a town hall and a chapel built to celebrate the ritualistic ceremony of luring a ship and dedicating the wreckage. The project plays with ideas of re-appropriation and ritual, and contrasts fragility and permanence, civic and sinister, beauty and destruction, chalk and salvage.’

    This project was awarded Best Portfolio of 2016 by the Kent School of Architecture, and was nominated for both the 3D Reid Student Prize and the RIBA President’s Silver Medal: 

    http://www.presidentsmedals.com/Entry-40771

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    Brief 001: Scarcity. 

    A travelling circus entertainer - Jakob Busch - in the early 20th Century is shipwrecked on Heligoland and builds shelter for himself and his lion.

    Brief 002: Abundance.

    A three dimensional panel assembled from scanned data and digital manipulation. Unlike the shelter, concerned with sustaining life, the panel is concerned with the needs of imagination, desire and memory.

    (Below: portfolio sheet showing manipulation of scan data in Mudbox to add definition)

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    Walworth Road Anamorphosis Final Crit.

    The proposal bridges between Walworth Road in the east and Crampton Street to the west of the railway viaduct which dissects this piece of city - a journey described by the long site section. 

    I have taken churches by Hawksmoor (St George’s, Bloomsbury and Christ Church, Spitalfields) and Pugin (the unfinished and subsequently bomb damaged St George’s Cathedral, Southwark) and fragmented them so only from five specific and privileged viewpoints do they resemble their whole. The theatricality of these anamorphic projections contrasts with the pragmatic use of the landscape; public toilets, a public square, bars, a workshop for the local bike repair shop, a location for wedding photos to be taken outside the town hall and publicly accessible viewing towers are all provided.

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    ‘Invisible Cities’ by Italo Calvino tells the story of explorer Marco Polo beguiling the Venetian emperor with descriptions of all the wondrous cities he has visited, only for us to realise they are all just different versions of the same city: Venice.

    This model is a three dimensional representation of one of those imagined cities. 

    Italo Calvino: “Isaura, city of the thousand wells, is said to rise over a deep, subterranean lake. On all sides, wherever the inhabitants dig long vertical holes in the ground, they succeed in drawing up water, as far as the city extends, and no farther. Its green border repeats the dark outline of the buried lake; an invisible landscape conditions the visible one; everything that moves in the sunlight is driven by the lapping wave enclosed beneath the rocks calcareous sky.

    …the gods live in the buckets that rise, suspended from a cable, as they appear over the edge of the wells, in the revolving pulleys, in the windlasses of the norias, in the pump handles, in the blades of the windmills that draw the water up from the drillings… in the reservoirs perched on stilts over the roofs, in the slender arches of the aqueducts, in all the columns of water”

    ‘Invisible Cities’ by Italo Calvino tells the story of explorer Marco Polo beguiling the Venetian emperor with descriptions of all the wondrous cities he has visited, only for us to realise they are all just different versions of the same city: Venice.

    This model is a three dimensional representation of one of those imagined cities.

    Italo Calvino: “Isaura, city of the thousand wells, is said to rise over a deep, subterranean lake. On all sides, wherever the inhabitants dig long vertical holes in the ground, they succeed in drawing up water, as far as the city extends, and no farther. Its green border repeats the dark outline of the buried lake; an invisible landscape conditions the visible one; everything that moves in the sunlight is driven by the lapping wave enclosed beneath the rocks calcareous sky.

    …the gods live in the buckets that rise, suspended from a cable, as they appear over the edge of the wells, in the revolving pulleys, in the windlasses of the norias, in the pump handles, in the blades of the windmills that draw the water up from the drillings… in the reservoirs perched on stilts over the roofs, in the slender arches of the aqueducts, in all the columns of water”

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