トム・エマーソン/講演/ 要約
再利用についての説明が面白かったので、トム・エマーソンのAAスクールでの講演の前半部を書き起こし、要約します。
04:30から、講演が始まります。
(私の概観: この講演の主題は「reuse」です。これは物質の再利用でもあるし、来歴や参照といった過去を再び想起させるものでもあります。
物質のreuseというと、浜松で活動する403がぱっと浮かびます。彼らは「転用」という言葉を使い、天井材を床材に再利用したりという試みをしています。彼らの本では、環境の中で物質をやりくりする、という視点が度々言及されていますが、このレクチャーにも出てきます。
時間軸上のreuseについても、最近やはり日本でも議論されていると思います。FT Architects の「時間の倉庫」(2017)は、歴史の断片を複雑に再構築し評価されました。また、リノベーションが設計手法として再評価され、中川エリカの「桃山ハウス」など、新築での実践につながっています。
このように最近の日本での独立した試みが関連して見えてきました。ただし、全体を通して偶然性や想像を交えていて、単純な理論ではない奥行きがあります。例えば、日本人学生?が持ってきた写真を参照元として使うというストーリーや、複数のプロジェクトに共通させた木材の接写です。こうした、説明の枠をはみ出たものがこの講演の、そして彼らの建築の魅力だと思います。)
トムについては、
6a アーキテクツ、ETHでのスタジオ
に詳しく載っています。
では、レクチャー前半部の書き起こしを始めます。
0:00 トムの紹介
かつてAAでユニットマスターをしていた
6aアーキテクツの事務所はAAから近い
Opportunity for us to welcome back to the AA Tom Emerson form a unit master here former council member at the AA. I think tom has said that he might show a snippet or two of things that might have emerged here over the years teaching that find new lives and some of the projects that will be presented this evening with Stephanie Mcdonald founded an office that's three times the size of the a a in the sense that it's called 6a architects and located not far from here just a few minutes to the east here in the West End they founded the studio in 2001. And since that time and that's almost exactly the moment in fact that Tom starts teaching has unfolded a project that puts them today very much at the forefront of what I think we could all call in in various ways the new English.
トムの紹介
知性・矛盾・ウィットに富んだアプローチ
I turned that one often doesn't here in this building but that is I would say absolutely embodied in the incredibly elegant incredibly refined critical and intelligent projects that the studio has done for the better part of a decade now and increasingly not just here in London but in cities and in locations around the world. It is a project that has that is filled with paradox and intelligence and wit. Not coincidentally one of the books that you'll see back in the south jury room this evening that we've got copies of beautiful text that was published in 2013 that six they produced with Irenaeus Cal bear titled Never Modern captures I think something of the knowingness and wit and intelligence of the project that 6a is unfolding, as they say in the book and neither we neither anticipate the revolution like the moderns nor recapitulate the traditions like the postmoderns.
本の紹介「Never Modern」
ポストモダン
時間軸に対する意識
This is a project that's incredibly carefully positioned in the culture of architecture and in ways that as I say I think put it in absolutely the forefront of all of those discourses disciplines and ways of working today that are trying renegotiate the pending impressive weight of the last century's work on what modern architecture is supposed to be. It is a project that believes deeply in the presence of time in our world and as they say the presence of time in the weight of objects and how they exist in the world and that's something that you'll see demonstrated clearly in many ways in the different projects that the Tom will show tonight. Along with their collaborators in the studio, 6a are known for their incredibly kind of nuanced and elegant and I think more than anything kind of self-aware demonstrations of space and material and the way in which those affects have we all live and work in buildings and the spaces of the city. This book is really very much the thing that prompted a conversation that we've had over the last few months to try and get Tom to come back in and update us the work of the studio. It's wonderful to be able to do that tonight to say that it's a book that's also produced by someone else who taught here at the a for many years Irenaeus Cal Barrett is the outcome of a series of conversations really over many years. I reckon within the studio and the work that Tom and Stephanie and everyone in the studio is doing designed by John Morgan who works with us of course on AA files reviewed and edited by Pamela Johnston as I say we will finish this talk with the chance for you to get a copy of the book and well Tom and Stephanie are here a chance to get that sign which I would recommend. it's an absolutely beautiful object in a studio that's incredibly interested in the presence and reality of objects in the world today. And the book is genuinely an embodiment and not just a demonstration of that interest their recent projects include two galleries here in London raven row and Spitalfields which I'm sure many of you know and that was nominated for the Stirling Prize the South London gallery in Peckham recently on the Albemarle Street project with Paul Smith.
受賞歴
The studio was presented with the 2014 Civic trust award recent projects include an apartment building in North London and many competition winning entries that are coming to fool in different ways today and I think we'll get a chance to see some of those please join me in welcoming back to Tom Emerson.
拍手
04:30 レクチャー開始
謝辞、経緯
Thanks Britt and good evening thanks for coming. Brett, I feel like you've just summarized my whole talk. But I just wanted to start a little bit with the title “Never Modern” and when Brett invited me to come give this talk he said specifically come and talk about the book. It was just after it came out last summer and I'm not going to do that partly but because I can't. It's a the book is a collaboration with Irenee Scalber and and with John Morgan who we've worked with that Raven Row and obviously does works with print studio and files
会話を通じて本が出きた
I would say that you could say the notion of collaboration is really the subject of the talk or how we do things together. I first came here I think in 1999 or 2000 and I met Renee in the print studio in the doorway of the print studio and he was preparing the can annual first year trip to Paris. And he'd prepared a project for the students to do on those for a long weekend and Tony's Whannell ,who was also teaching first year at the time, wanted me to set a project which was based around the work of George Parekh the writer who had written my dissertation about. Anyway this was interfering with Irenaeus plans and he was getting a little surety about it and they started having a full-blown argument in the door well the doorway next door. At one point Renee said “look Tony if we're going to do this argument properly let's get a bottle of wine and go to the bar” and that really is the sort of the beginnings of now kind of 15 years of conversations with E Renee we set up our studio very shortly after that and sort of been like a kind of a friend and kind of companion along the way. And the book really came out of trying to trying to give a shape to those conversations and the responses that he'd had to the work.
オリエンテーション
この話は reuse についてだ。
ラトゥールの引用。
cf.ブルーノ・ラトゥール、「We Have Never Been Modern」
近代化が引き起こす分断
So the book really explores about how the city how people have culture how architecture how our story basically is the intertwining of accident intelligence imagination chance opportunism and this talk is not about the book although it shares many of the ideas. This talk is about reuse not not as an alternative to the new but there's a kind of new reality the only condition we have today with more in common with a pre-modern mindset in which everything in the world is interconnected. And here we owe a lot to the work of clean or Latour the French anthropologist who wrote the book “we have never been modern” which has been at the center of many of these conversations. And really in that book he sets out this argument that “when we became modern we separated” everything and it's that separation between nature and culture that has put us into the difficulties we are in today and that for the first time since becoming modern and I'll come on to what that really means. It's the first time that we've been forced to sort of push culture and nature back together to tackle the issues of climate change and world economics that have been around us for the last sort of decade last five years in particular.
6aアーキテクツと、ETH Zurichでの実践
発明や革命ではなく、修理や変化を試みた
So I'm going to talk about some projects from our office 6a architects which has Brett said Steph Stephanie and I started in 2001 and some of the work by students from the studio that I run in ETH in Zurich. Reused like design I believe is cautionary and evolutionary it's an attempt to repair and transform and transformation as opposed to invention and revolution. we need to design without the revolutionary zeal of the modernist to rebuild a world anew but design with caution even precaution of the pre-modern. One in which we can connect the divisions between nature and culture between the large and a small city that were made since we've became modern.
近代の定義
So what is modern according to Rem and this year's Biennale it's the last hundred years 1914 to now according to Lature it's from the 18th century onwards the Enlightenment rationalism the Industrial Revolution and actually there's a can even longer description and this is comes from my mother who's here tonight I have to be careful she's a historian.
And she described it as what is not ancient history and what is not the dark ages so from the medieval period onwards and to some extent I think it's all of them and we can sort of we can find our way through different definitions of the modern but the most important thing is that reuse is not foundational and I think that that is what is modern.
設計と建設は、自然界のものを利用する、自然に内包されたプロセス
革命ではなく進化を”Evolution not revolution”
Design and construction are the processes by which we can use and reuse everything from nature the built environment objects even genes today. We need to stop looking at nature outside of us as outside of ourselves, but rather with it be within nature. We need to work naturally. Architecture and construction are naturally mimetic an imitation and evolution are fundamentally human and natural. Evolution not revolution.
例：椅子を発明した人はいない、我々はただ座り始めた
No one invented the chair we just started sitting down. Then we learned how to be comfortable then we learnt how to have taste. But basically we just wanted to sit together design and bricolage are fundamentally collective and collaborative processes. It's a way of passing knowledge on this is the first of a couple of photographs by the artist Richard Wentworth who Steph and I met as students at the RCA in the mid-90s and who's become a very important figure for our practice but also I said a very great friend. And he sort of his ideas come with us throughout our work so this is how nature grows diversifies and this is how we learn by imitation.
Designing should be the antidote to so many modern errors of founding colonizing or breaking with the past. It's an antidote to the hubris of modernism and a search for absolute certainty absolute beginnings and radical departures. Modern man as master of the universe.
スライド：古代ギリシャ神殿
人間と建築は記憶を持つ
So let's start at the beginning. This is a fairly big slide architectural, but I don't want to talk about classicism the thing I'm interested in here is in the memory of construction in the way probably one the oldest architectural stories of all the way that they're kind of the tree glyphs are a memory of the beams coming through above the columns. And how the fluting in the column how the fluting in the columns is a memory of kind of reeds bunched up together. And the architecture and humans have a memory and that's not just representational.
12:00
スライド：日本の伝統建築の柱（筆者の記憶では、これは井戸の柱の基部のディテール）
修理することの表出
It's also in the kind of small actions of repair and this is a photograph from a temple in Japan where the footing has been replaced so many times after being rotten that somebody came and did a wood joint in stone. And it's a photograph that our colleague Takeshi - who's a student here first brought to the office I think many years ago but has been a kind of very powerful image of a certain type of care a certain type of precaution.
実作
スライド：レンガ壁とレンガパターンを貼られたパラボラアンテナby Richard Wentworth
Then of course the kind of an emetic nature also gets confused sometimes. This is also by Richard Wentworth but maybe that's why that's what makes design so important and I just want to go from there too I would say exactly ten years ago let's call it March 2004, you might recognize the room it's the front members room upstairs and it's a series of models that we did in the unit with Peter Beard and dip to on non systematic structures and it was about material shifts. This is a one to ten model with the structure of the the Church of the autostrada by Michael uchi just outside Florence. It's a building made of in situ concrete but obviously built in timber first and then strangely given the last slide of the Japanese column there's even then a casting an aluminium of the reproduction in timber. so this idea of materials permanently imitating one another and shifting
and the other model in there these photographs I expect by Jitsu bar again another kind of long term longtime member of the AA is the arts bond by Alison Peter Smithson built in bath in the late 80s and it's a kind of proto ruin I studied in bath for my undergraduate. And this was a shell when we arrived it is a project that's sort of it's like a kind of future archaeology. It had a very odd structure these kind of lintels placed in the wall with no openings as if they were can anticipating change and it wasn't fitted out. It was just walls and a roof and a kind of great big hall but I suppose that these buildings slightly anticipate this idea of structure the idea of kind of built form being about the user the exaggerated footings of the Church of the autostrada are really about sort of pushing yourself up to is about people leaning against it. This is a church at the intersection of two motorways people never arrive on time they just stopping so he kind of inflated the structure to be like sort of rocks to hide behind and similarly, the Smiths ins I think were thinking about a kind of a future it wasn't a master plan it was more let's see if we can sort of point in one direction or point towards the future.
and I think that these projects are also anticipate tree in the sense that they're very very collective these were made by the whole unit these were group works he's were collaborative works and that's been something which i think is both visible and invisible throughout.
ETHでの実践
多人数の生徒・セメスター制という短いスパン→
集まる場所を作ることでコミュニティー形成に携われる
This next image is a building that was designed and constructed by my students at ETH in 2010, when I arrived there. And the different one of the big differences between let's say teaching here or in Cambridge as I did after after here and ETH is that the unit system as we know it and I guess is probably still the same somewhere anywhere between 10 and 20 people normally about 14 if I remember rightly is this sort of it's a kind of natural group there's a natural community there you can all sit around the dinner table a meeting table and get to know each other. I arrived at ETH and I had 48 students and the question came out how do you make a community how do you get to know that number of people. And it's also a semester system so it's so much faster than the year system that we have here and so we decided well why don't we build a building that we can all go into and that may be in that process of designing and building together that that will naturally form some kind of community.
2週間・ゼロ円という条件
So the brief was to design an enclosure to host a lecture that we could all get into plus a lecturer and would there was two weeks to do it and zero budget and so they did a 24 hour competition design competition between all the students being in Switzerland we voted on. everything and we found the winner which was this basically a box like a little chapel made of basically reclaimed materials the idea of reusing material there's more economic than polemical of no real interest in recycling per se but I think that the idea of reuse as a kind of collective activity is interesting. And it was all done without power tools it was all done with hammers and nails and hand saws.
→建設プロセスの民主化
In a two-week period quite extraordinary kind of mobilisation of people of materials of kind of imaginations of procedures and the process of using hammers and nails only was not so much a kind of ideological one. It was partly what one might call the health and safety 48 people with power tools is kind of scary but it's also about the democratization of construction that within within a group of architecture students you also get those who are really good at making things they've been making things since they were tiny children and then you also get others who've never really picked up a saw before you had to learn a piece of wood or a hammer but everybody can learn to knock in a nail in an afternoon. And everybody can participate and in fact.
ハンマーの本の紹介。叩くこと・切ること・調理することという物づくりの基本
I just received this book today in the post I'd ordered it on Abe months and months ago opened it it's a 1976 catalog by hands Hollande called transformations and then there you have it a whole sheet of just hammers of different scales I thought well of course bashing things is one of the very fundamental ways of making things you either bash things cut things or cook things there aren't that many ways.
And then I was so it's really excited about getting the book I opened it rather abruptly and being from 1976 the glue is now as brittle as glass and it broke instantly and I guess that happens to architecture too. But yeah so that's that is what made this little structure and the pine boards I suppose the age-defying boards of these kind of reclaimed materials in this slide transformed into Jarrah which is a Australian hardwood which was used for making railway sleepers very very hard. It starts out more purple than this but really quite an extraordinary material.
20:00
実作の紹介・ツリーハウス
車椅子→水平
And it's what we use to build a small house in East London called the tree house it's sliced up and then used as a cladding unfinished it needs no treatment it was a very small project very low budget project and it seemed the most direct way of laying out what seemed like a sort of horizontal log into the back garden the house has laid out more or less on a slope it is for family, where the mother of the family is is wheelchair-bound and she can't basically live in the house vertically anymore. So it was basically to enable her to live horizontally to get from the house to the garden and sort of to lay it out around around the tree which she was very very very fond of. So just as the tree was the centre of design of the house, she became also the center of the house.
参照 ヘルツォーク
Again and of course we all have memories the tree bent the building bent around the tree we never really used this project on the right by H&dM as a precedent it was never really discussed but I think we all have memories and they were very influential on us when we were students. and so I think there's a sort of latent memory there rather than the precedence so that
21:44 プロジェクト 「レブン・ロウ」の解説
cf. 6aの作品紹介へのリンク http://www.6a.co.uk/projects/more/raven-row
スライド：焼かれた木の表面
There's another example of the sorts of Big Bird the easy cut and fix of timber and again this is not the same project it hasn't burned down. this is in Spitalfields in in East London it's a detail for a raven row the Contemporary Art Foundation that we did that was open in 2009 this is the roof of the new building these great big sort of kind of like chimney stack roof lights can William yeah as Court would call it and it's really the product
建物の歴史
you could say of this photograph this is a photograph in nineteen seventy one of the building just after the fire ripped through it extraordinary photograph where which we never really knew what to do with when we found it it's except kind of admire it the resilience of architecture the kind of 18th century interior despite this fire is still there that photograph came along with about 70 others in a shoebox in the London Metropolitan archive. And it became the most mysterious kind of bodies of evidence that we've ever had with a project the photographs date from 1905 to 1972 they are by several different photographers obviously over 70 year period but they are unnamed uncredited and they became this sort of them resounding chamber we kept them trying to work out what to do with it. The most interesting thing about it is the way that you could see the city passed through one building. this is in 1905 this is when Spitalfields has has grown has declined in the nineteenth century has come up again this is it in the 60s the same building in the late 60s and the late 60s Spitalfields was just about to be demolished. And Ian n Wright's very movingly about a place that nobody cares about. So to see the city kind of the life of the city the story of the city to pass through these interiors this is in the late 60s again this building doesn't exist anymore it's gone. This extraordinary photograph where they put the dark furniture on the dark side and the light then it's shown the light side I mean Christian bulletins we couldn't have done it better. I've since found out why it's like that and I sort of I was wondering shall I tell you there's another photograph that shows that to the left there's a fireplace and so I suppose this is London in the 60s suit you know there was a partition and one room got dirty and then in the early 70s again late 60s or 70s so you can see you know you'd be forgiven for not knowing that these are the finest eighteenth-century interiors in London. And this one which is perhaps one of my favorites because of its kind of pathos and also because I kind of recognize some of this from my childhood and 70s I didn't grow up in England so since I seem to be the new English I guess. I guess we aren't new English but I used to come to England a lot to visit our family and in the 70s I have this sort of memory that this is what it was kind of like the radio set the bedspread. But these are this is a section through the two buildings is they were silk Mercer's on the ground floor they would do business on the first floor they would live on the second floor and then servants in the basement an attic the top floor is new is 1970s is after the fire.
プロジェクト概要
And our job started really it was to add two new galleries at the back of the building. to the right of the Georgian building and to excavate below the office building on the right to get enough ceiling height for new gallery spaces so to some extent it started off as a almost like an engineering project cropping up that building on the right and to place two new contemporary galleries one top lit in the middle and one side lit at the end and then to try and reconstruct some kind of idea of the city block by entering rather than during the first floor is very typical front room back room and two stairs the second floor is rather special to these very very thin screens between what was the sort of the laundry area the storage area and in the main living room. Then the third floor is more or less entirely new and of the fourth floor to the roof space frying pan alley down the back the white building is the one that needs to be propped up a bit of 1972. This may have been caused the cause of the fire but we're not sure the construction and then it really became about designing this new gallery space this new white cube for full Contemporary Art. and getting a staircase down to it from the original ground floor into the basement and then I suppose this is sort of London building it's like kind of Dentistry. I'm just picking there you can see the kind of the frame that held the building up while the excavation happened and then it was dropped onto new footings. It's kind of messy. And then one of them I find one of the most fantastic parts of projects particularly in the UK is the moment when they get plastered that this bonding plaster which has this sort of pinky brown texture turns every project momentarily into a cave. And it's sort of like it's like surrounded by Marvin and it's it's only in the UK but I think they use this. And it's a very special part but anyway, it became the white cube as one would expect and this is this is the space top lit with those two light cannons.
現代美術展示の白・火事の黒
日本人コラボレーターによる、焼杉の参照→工法の確認
But perhaps the most interesting part of the project came really when not so much when we were making a new building at the back of the 18th century building but when the world of the Contemporary Art the white world starts moving back into the 18th century when all of the 18th century becomes white and becomes part of contemporary art especially when remembering the blackness of this image that suddenly black goes to white and this process of iteration somehow becomes the subject of the project is a detail of it and Takeshi who was when working collaborating with us on this project all the way through showed us this photograph from his parents hometown in in Japan, and said look you know 焦げた wood is not just destruction it's it's a building material and of course one of the great things about 焦げた wood is it doesn't it's very good fire protection. It doesn't burn second time so we started to look at using this technique on the roof some experiments Takeshi kind of blowtorch in our courtyard burning things. Of course you can't get anywhere near the heat necessary with a blowtorch and he went back to Japan and found out how you did it traditionally which is to make a chimney of three pieces of cedar chimney so trying to achieve Lee prop it up on the brick I think traditionally would have had straw on the inside but in our case newspaper and then you light it and then it burns like an absolute inferno it sounds like a jet engine. I was taking these photographs with a stopwatch to get the perfect sort of cook on the inside and Takeshi like no no no just watch and then as the surface is burnt away it comes through the edges burns the binding and then falls over. It's incredibly elegant process it's about two or three minutes the guy in suit is the contractor is we're on his farm and he at this point very confused, and then this was the you can say the mass production once the technique was perfected you can see on the left some of the chimneys made on the right in the middle there Proctor I would say this is one of those things where if we are going to be modern this is a really modern space it's a traditional Japanese technique in a farm in hartfordshire? being carried out by lithuanian builders.
And this is it this is the kind of the vents and the it's the ventilation the lighting of the galleries and there is one of the rooms that burnt down so they sort of stand outside like kind of little mementos of the fire. And this idea of texture and time and wear and tear suddenly appeared everywhere in the project. We're in the 18th century shop in number 58 but it's got a bit of 1970s concrete in it really bad English concrete. But a kind of incredible texture and so that was kept. So the idea of the the old and the new the original which you can't find of course because the building's been transformed over and over and over again in the 250 years it's been standing there. never really became possible. So it was just about layers about different textures and the staircase became this big thing this sort of the idea of what kind of stair you make.
階段・プレキャストコンクリート
And in the end, we became interested in some of the techniques so Georgian techniques and it was to make a cantilever stair like a traditional Georgian stone cantilever stair but in precast concrete and this is the company I like it when sign writers mark their shop with sign writing on the glass and precast concrete do it in precast and fantastic and a white concrete incredibly precise process which the guy doing it when we're talking about the iris that you put on concrete to stop it chipping you know drawing these little radii he basically put the silicon in the mold and just ran his finger along it so it's like a kind of extruded fingertip and here they are this is one of the most wonderful bits of building salt quite miraculous how it stands up you just pop it in 100 millimeters into the wall and then just keep going and just keep stacking them on a kind of dry dry bed now a millimeter two millimeters big and then it stands it just holes
And then, we wanted to respond to the original staircase which is this one from there kind of mid 18th century and it's great swoosh at the bottom to say that I've arrived in a gallery you can't really do that you need to be visually quite subdued or quite quite understand the played but I think your fingertips can start doing it so we started looking at ways in which the can handrail could just sort of end with a little a little handshake. Another borrowed detail this in fact is from our son's primary school it's at the bottom of the front door always liked it and then we got to use it again here so this is the castings and the kind of the idea of castings of having a memory this is cast against sand and it's got this little texture which runs then throughout the project as a kind of you know if this project is sort of about memory or reconstituting memory casting seems to be the way to go. And even right down into the door furniture this is actually a copy of a doorknob from number fourteen Bedford Square. From that dates me in the school when when the school had some studios over there and it's basically a copy of that with a finger printed pressed into it recast. Thresholds you know door handles handrails are all to do with these thresholds and this bit when the Georgian goes into the contemporary was a particularly difficult geometry to reconcile. It's the only bit where we in fact where we use rhino I think the process called lofting where the kind of the rectangle as a Georgian term, okay the laugh comes from a certain age group, I know that basically to just find more the flattened arch of the Georgians into the rectangle of our own time and it was just the most fantastic these guys who do sort basically ornamental plaster just sort of built it made a few sections got the model made a few sections and it's like a kind of infinity Cove in a in a photographer's studio but it's also like a bit of vaulting plastered bolting in the entrance. it's almost like a kind of non threshold and this story a plaster kind of carries on this is the first for all this is a very very rare example of a plaster ceiling carved in City you. So before these is from about 1750 for they were more often in papier-mache because lime plaster was too soft or took too long to cure and then some guy in Paris in the 1750s put some gypsum into line mixed it out and it became firm and then they did a couple of these and very soon after that, they get so good at it they start casting and ornamentation becomes cars. So it's a very unusual wonders got the softness of a kind of handmade thing and. It's from that room on the top left I sort of do the darker grey one and this is that room in 1914 another photograph from from that archive 1914 is June 1914.
Brett and I were just having a conversation about the Corbusier’s domino structure which was drawn in November 1914 I mean just think of what happened between June and November of that year. And it's a really interesting date given that it might be when we became modern it's certainly when we learned how to really destroy ourselves. It's also more or less the time when Duchamp starts making the large glass. It's when victim stein is on the front writings attracted to us.
It's the most extraordinary few years anyway immediately after the first world war in 1920 and here I'm is his conjecture when Britain was broke but had a hell of a lot of history. America was very rich and had relatively little history they shipped the whole room to America. And I think this one and many others they took it out as a whole prefabricated set and he went to the Chicago Art Institute and we basically through very secured disrude we've managed to find it and this is the first case yet I think 2008 2007 of the room coming back I'm packing it kind of Rococo in bubble wrap. There's no instructions to this stuff and then while the building has been built no this kind of contemporary building has been built on one end of the building. Then this is sort of the process of reconstituting this very strange event and then. I think the dark in this image is what we found in the boxes and the light was remade - to complete it but basically all the good stuff all the car all the carvings were there and it was a kind of completely extraordinary parallel process. It coming back he went to Brighton again to be to be fixed I mean this room has travelled of course in 80 years while it's away I mean London moves near London's on clay and it didn't fit. So it had to be retrained and recut to come back in but that's it now the room is now known as sort of informally as Chicago we never found the fireplace but somehow that seems appropriate now and of course it's the only 18th century interior in the building because it was a way for the fire. So it has a very particular kind of presence in the whole story these ones are all 1972 concrete and paneling included.
さて、展示物
煙の形をしたオブジェ。キュレーターが火事の歴史に応答してくれた。
So this is a little walk around the building kind of going from the contemporary back in and this is one of the shows at Raven row it's a piece by Alice Shannon and it's basically castings of smoke rings. I thought wow you know do we just kind of all these ley lines or something because that's the space that it's in. but of course we had a client and a curator who knew all these stories and it was placed. But I think is you know the way that these stories sort of return on themselves is he's kind of the subject it's a great space for very kind of intimate work like video work it's mainly video work and installations at the moment it's a maze you can't see these rooms this sort of Steven will it's kind of strange interior. But anyway the other part of the building which disappeared is the cast iron on the top of the facade which was stolen in the 70s in the late 60s and that became another part of the reconstituting of the building so the rear facade where we made the new galleries, we decided that had to be cast iron. And you know strawberry process heat and it became a casting of of course the burnt timber the burnt timber far too fragile to take it off the roof and have it on an alleyway but the cast iron can sort of can do it. And that's the that kind of the back elevation now it's called frying pan alley appropriately enough. And this is the view through from the back alley right the way through to the front. carrying on with cast iron things to come back round of London.
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同じようなプロセスで...(以下略)
we did another cast iron project more recently in Albemarle Street and Mayfair for Paul Smith more or less the same process the same…
ここで大体半分になったので、今日はここまでにします。
読んでくださった方ありがとうございます。