Mnemonic devices and re-objectifying

(to investigate through design):

-the cut (as an analytical device, revealing edges and layers)

-layers, stratification (as physical and non-material memory)

-anticipation of the elements (such as time, weather)

-archetypal elements (issues of meaning, form and function)

-fragments (as creating whole)

-castings (as containing memory)

-positive negative play

-local narrative

objective:

I will explore issues (of the city, collective memory, narrative, experience and materiality) by testing architecture as a mnemonic device to trigger memories and reconnect people to site in Christchurch. It is my intention to design buildings with a mnemonic language (containing reference to layers of memory of the particular site) with implications to other sites throughout the city of Christchurch (through deriving a methodology / apply-able language).

Layering/casts..

I am in these casts working though a few things. You'll see I've moved since the last series of casts, removing the frame, and creating holes in the compositions so that you are able to see through them, like actually being in them. It is trying to figure out the experience I want to create. Questions still remain.. what is behind them? What is on the other side? Can you move through them? 

It is also testing the idea of surfaces, relief and layering. Why do I seem to collapse space and bring the surfaces together consistently? Why am I constantly carving and creating reliefs? 

RIBA travel scholarship entry poster

first attempt to graphically summarise my project... for a scholarship application. Good practice!

week 4

This week I re-titled my thesis, it was like getting further into figuring out what I actually want to be able to do. I want to design buildings that have a relationship spatially, materially, to the demolished buildings so that memories are triggered for the users of Christchurch. Testing the potential of architecture as a mnemonic device to re-establish the relationship of people to site. This has meant a lot more reading, on semiotics, and I need to do more reading on phenomenology. 


This week I have also:
-drawn layers (see below)
-written 4500 words on my lit review (only one section to go)
-edited and rethought my ideas in my lit review
-put an entry together for a RIBA traveling scholarship
-continued reading and typing up my notes
-researched Napier as a precedent
-discovered a thesis that relates to mine that has spurred a lot of thought, as well as presentation ideas: http://2.beltline.ca/node/400


Other thoughts:
-issue of representation
-importance of noticing what precedent projects do
-I am using thinness. Why? I need to explore surfaces and their relationship to mass

Thinking about layers and slicing/revealing

own exploration drawing

evaluation...week 3

This week I got a cold, so was not feeling so great a couple of days. 


I did despite this manage to:
-get together my materials on my sites, and gather more info
-received the property file of Sherborne St in the mail, there were many useful drawings, and a contact email address for the owner of the site! So I emailed her, too
-did drawings of my 'relief' exercises
-met with Robin Byron from the historic places trust
-contacted the Caxton Press, who said they'd be happy to talk with me while I'm in Christchurch
-took notes from 4 more books
-finalized milestone 2, my thesis proposal, and handed it in
-wrote 2000 words to start my literature review draft


So now for week 4... sounds serious. Its not just the first few weeks anymore!

meeting with Robin Byron

Meeting with Robin Byron (Historic Places Trust, Auckland)


I met with Robin on Friday to talk about the challenges Christchurch is currently facing from the Historic Trust's point of view. I asked her what the values are in maintaining historical buildings, to which she responded saying they are part of the document of history, a lineage of reference points. They are authentic, real examples of certain styles and craftsmanship. Millions of dollars may seem like a lot to restore an old building, but on the other hand she said 'once its gone, its gone.' She does admit that it gets difficult when deciding if something is worth preserving. Should we 'group' buildings? How do we justify which one is the most important?


Robin pointed out that we have different values attached to different types of buildings. Residential buildings seen as 'character' and commercial as 'heritage'. I was pointed towards heritage guidelines, which are going to be interesting to analyse and compare to other texts, and to some people in Christchurch who would be good to talk to while I'm down there (starting to realize that is going to be one full on week!). It would be so interesting to be able to get into one of the storage facilities where the documented deconstructed materials are of the significant buildings lost!


Napier is also relevant as a precedent, and one in NZ!