The Timeman

The first image brought to mind when doing word association with the word "time" is... clock. Symbolically, the clock face is something recognised ubiquitously in society. Why, one of the first things we are taught at school is how to tell the time. We need to delve into the function and meaning behind the clock -and perhaps more specifically time- especially if I am to begin constructing a design solution for someone known only as "The Timeman". Who is this character? Is their life purposed only with managing the forward motion of time? Is it just to maintain all of the smaller, inner mechanical workings of a clock that create something larger than the sum of it's parts? This is what I need to contemplate. 

Obviously, we all use a clock to- you guessed it- tell the time! Because despite the best efforts of Hollywood to tell us otherwise, time has an endless forward-moving momentum. What is done cannot be undone. And so, because the amount of time in the day is never long enough, we use the clock as tool to track and organise our lives around the revolution of Earth around The Sun. In our daily lives, we experience this in the timeless ritual of the rising and setting of The Sun. Just as it is cyclical in nature, so to is the clock face.


Thus, I bet it is safe to assume that my client -"The Timeman"- will require a design language that wholly encompasses this cyclical ritual. Perhaps this occurs in the form of a perfect circle? Maybe elements of the design will act as a sundial of sorts, where the inhabitant will always be able to track the movement of The Sun no matter where they are. Hence, the permeability of the building's skin, or it's ability to let light through will be a crucial aspect (more so than usual) to consider within the design phase. 

Hmmm, I think this leaves more questions than answers... 

John Hejduk

This semester, our studio is structured heavily around the teachings and legacy left by the architect John Hejduk. It is fitting, seeing as we are now being pushed to consider the heightened role of context and the poetic in architectural form, which arguabaly is what Hejduk excelled in from what I've read.


John Hejduk. Bye House (1971), from the League's exhibition 200 Years of American Architectural Drawing


John Hejduk. House of the Suicide, from the Lancaster/Hanover Masque 1980-1982


"Through colliding architecture with poetry, he extended it. Extended the understanding of it in an ontological sense. And in my mind extended the possibilities for it. This was often, and I'm being very general here, accomplished through themes of the mythical, the pathos of history, narration, and anthropomorphism."   - Thomas-Michael


Thomas-Michael eloquently articulates the manner in which Hejduk approached his trade, and it definitely resonates with my impression of the architect. In my opinion his designs are just as much about storytelling and myth as they are about form and space.  The structures he creates are characters who inhabit the city, each with their own imbedded history and stories. This will be the basis for my studio course this semester, as we are assigned a unique character from one of Hejduk's works, to then create a design solution for.

A Little Inspiration


What can I say? They speak for themselves. Maybe one day my name will be amongst them...


Welcome!

Welcome to my first and foremost endeavour into the world of blogging. 1% Visible is a blog that will chronicle my architectural design process in "real time". I've almost completed my second year of Bachelor of Architectural Studies at the University of South Australia, and my lecturer has persuaded my peers and I to set up blogs such as this as a means to communicate with one another in a way that we otherwise may feel uncomfortable to do face to face. I say bring it on!