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MDP-’HORA’ DI BYE-BYE CAPE VERDE M-Tech (Prof) Architectural Technology Ashlea Victoria Weaver


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Sensory: ‘s3ns(e)ri/ adjective 1. relating to sensation or the physical senses; transmitted or perceived by the senses. “sensory input� In this chapter a physical model has been explored and materiality has been identified in the form of percentages. There is an overlap of the senses as well as materiality. How would a certain material influence a sense?


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2016 University of Johannesburg M-tech(Prof) Architectural Technology

Hora di Bye-Bye


Hora di Bye-Bye - Major Design Project: The Embassy of Hora di Bye-Bye | Cabo Verde

Project Statement: ‘Architecture is the art of reconciliation between ourselves and the world, and this mediation takes place through the senses.’ Juhani Pallaasmaa The ‘hora di “bye-bye” – the hour of the goodbyes – is a colloquialism used by Cape Verdeans to mark the sadness of leaving or departing in a country whose history has been marked by continuous emigration and departure. In architecture, phenomenology can be understood as research into the experience of built space, as opposed to theoretical or abstract understandings of space. One of its most eloquent and accomplished practitioners is the Finnish architect and academic, Juhani Pallasmaa. Pallasmaa’s career as an architect can be divided into two stages: rational and phenomenological. Ironically, it was only after his return from teaching in Mopti, West Africa, that Pallasmaa began thinking differently about his own training. ‘I had a rather dramatic change in my life when I went to work in Africa, and became critical of rationality and the idea of universal values.’ Architecture’s sensory bias has historically been vision. We perceive, design and experience architecture primarily through our eyes. In what is considered his most influential text, ‘The Eyes of the Skin’, Pallasmaa describes the mechanics of seeing, looking in particular detail at what he calls ‘the gaze.’ According to Pallasmaa, our experience of the world is mediated through a combination of all five senses, not just sight. The suppression of the other sensory realms has lead to an impoverishment of our environment, causing a feeling of detachment. Using one or other of our senses, my argument is that our experience and ability to design may be enhanced in ways that have hitherto been ignored. The ‘haptic’ realm refers to the sense of touch, in particular relating to the perception and manipulation of objects using the senses of touch and prospection. In addition to exploring ‘haptic architecture’, I am interested in all the senses – touch, taste, smell, sight and sound.

Santiago Island. lighthouse used for navgation and sense of place

Porto da Praia. : It is the island’s ferry port and is home to one of the nation’s four international airports. The city centre is known as Platô due to its location on a smallplateau. Praia is Cabo Verde’s largest city, a commercial centre, and a port that ships coffee, sugar cane, and tropical fruits.

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Lepa Island. A “sensory” sodade claiming “this new sensory feeling for those ones to visit their ‘journey


‘Sodade’, is a term used by Cape Verdeans to describe the feeling of yearning and longing for the homeland and loved ones they have left behind on the islands. This sense of longing has saturated the Cape Verdean cultural expression and has been immortalized in literature and song. The word sodade describes the sentiment of nostalgia, and excites the sensory feelings that can elicit a memory, or a large response causing the body to change behavior. (Terza A.S Lima-Neves; 2009,1) The site of my investigations – a seascape drifting between the lighthouse on Praia’s most southern point and the Porto da Praia in Praia, Cabo Verde – is a place/space that encompasses all the senses, almost equally. The space is to evoke a memory or sensory feeling for those family members who have been left behind, a space for loved ones to visit their ‘journey’. To celebrate Cape Verdes diaspora community which embraces the history of arrival and departure. In a conventional embassy programme, ‘territory’ is the primary driving force behind most – if not all – design decisions. Zones, borders, boundaries: an embassy is made up of the relationship between different territories and the degrees to which each is controlled. In the Embassy Hora bye-bye, boundaries do not occur in relation to physical zones, but rather in the boundaries between senses: a space may be experienced through a combination of touch and taste, for example, or between sound and smell. Using the senses as powerful generators of form, material, use, site, infrastructure, and so on, it is my intention to produce a piece of architecture that is defined not by how we might see it, but how, for example, it might taste. In his essay, ‘Allegories of Architecture’, the architect and architectural historian, Jonathan Hill, states that ‘the influence of a linear perspective on architectural design is extensive. But the visual experience it describes is unlikely because, for most people, vision is binocular and buildings are experienced over time when they are not the focus of attention.’ (Hill, 2007, 13). Using Hill’s argument to encompass not only more complex viewpoints or ways of seeing, but also more sensually evocative means, it is my intention to create a new language of architecture that is both representative of, and evocative of the full range of human sensory experience.

Atlantic Ocean loved ones longing to come home

Praia captital pf Santiago Island Cabo Verde. Site - “Lighthouse” space is stimulated through these methodologies of entry, exit and w owned territory in the sea”- the space is to evoke a memory or e family members who have been left behind, a space for loved y’.

Praia- Beach where local fisherman gather - ‘Panoramic view of Site’


SANTO ANTÁO

SÁU VICENTE

SAL

SÁU NICÓLAU

BOA VISTA

MAIO

FOGO

SANTIAGO

PRAIA BRAVA

LOCATLITY MAP 0m

8

40 000m

80 000m

570km TO THE WEST COAST O


Cape Verde consolidated my own thoughts and understanding of body and space, leading to the ‘architecture of the senses’. This was prompted by Juahani Pallasmaa’s perception of body in space. In this chapter a close distinction between site and the “sense’ has been represented. I initially looked for a site that would speak to these ideas or conditions, eventually settling on a seascape drifting between Porto da Praia and the lighthouse on Praia’s most southern point. It is a place that encompasses all the senses almost equally, an overlap of land, sea and air territories. Each of the inter-connected spaces have their own series of drawings which is revealed in this chapter. The project is based on different fragments which makes up the project as a whole, this nature of work has been done intentional, Id like Visitors to this world, whether in this room or on the site, are encouraged to ‘use’ the drawings and models to generate their own experiences, detaching themselves momentarily from their everyday environments and joining me in this ‘hora di bye-bye.

OF AFRICA

SANTIAGO TARRAFAL

RUI VAZ

SANTIAGO

PRAIA

PRAIA


1:1000 @ A0

PLATO

PRAIA

CHÁD’AREIA NATIONAL ASSEMBLY

LEPA ISLAND [ILLHEU

14.908808, -23.50

PRAIA QUEBRA CANELA PALMAREJO

1.LIGHTHOUSE

14.900414, -23.509143

1.LIGHTHOUSE

14.900414, -23.50914

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PONTA DA ACHADA

ACHADA GRANDE FRENTE

PONTA DO VISCONDA

U SANTA MARIA]

07944

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2. PORTO DA PRAIA

14.905253, -23.501906

2. PORTO DA PRAIA

14.905253, -23.501906


Site Analysis 1. Lepa Island Cabo Verde

Site Analysis 2. Porto da Praia Cabo Verde

Site Analysis 3. Lighthouse Cabo Verde

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raditionally, the herb has been used to ease muscle pain and spasm, support the circulatory and nervous systems, improve memory and stimulate hair growth.

WILD ROSEMARY (Alecrim de Nossa Senhora)

palpitations, toothache and vomiting.

As a medicinal plant, lemon balm has traditionally been employed

LEMON BALM (Erva cidreira)

phytonutrient content, coupled with its lack of cholesterol, all support heart health.

FENNEL (Funcho)

eliminate nervous tension, relieve pain, disinfect the scalp and skin, enhance blood circulation and treat respiratory problems.

L AV E N D E R ( A l f a z e m a )

Lemongrass is used for treating digestive tract spasms, stomachache, high blood pressure, convulsions, pain, vomiting, cough, achy joints (rheumatism), fever, the common cold, and exhaustion. It is also used to kill germs and as a mild astringent.

LEMONGRASS (Erva caninha)

OREGANO (OrĂŠgĂŁos)

The herb is used to treat respiratory tract disorders, gastrointestinal (GI) disorders, menstrual cramps, and urinary tract disorders. The herb is also applied topically to help treat a number of skin

PRTU 2 98071

22GI

HECNO EN

JULY 16/2015

SODADE SUPER BOCK A U X 8 1 5 0 6 6

ST-76-GQ 20 5 0 4 2 0 9

VROOOOOOM

13:10am ROAR!

MEDICINE - HERBS


Journey of Arrival - This is an illustration of the journey experienced through memory of translation between history of the Cape Verdean culture and place itself. The celebration of space through arrival and how this is experienced. Diasporic Cape Verdeans and their connection to their homeland, What brings them back? Journey of Departure - As a result of large-scale migrations cross borders, diasporas maintain a permanent relationship with their homeland, by visiting regularly, sending remittances and developing trans-state relationships.

Sound Onomatopoeia - The formation of a word from a sound associated with what is named. I mapped the sounds of the journey to and from the point of arrival and departure and encapsulated these sounds into a drawing so by reading the word we are able to hear the sound.

Smell is to perceive or detect the odour or scent of something by looking at images of herbs to stimulate their smell. In his drawing herbs are used to stimulate their smell as they are used on the islands of Cape Verde for medicinal purposes.


Layer 1 - Routes land/sea/air

Layer 2 - Traces

Layer 3 - The Vertical

Layer 4 - Surface

Layer 5 - Illusions

Layer 6 - Axis

Site Plan

The site plan starts to highlight the navigation of the diaspora community. Ki moun ki Ia? (who is there) and Kisa ou ap fe Ia? (what are you doing there). Layered site plan consisting of 6 different layers of the site:

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Layer 1-Infrastructure (memory) Layer 2- Seascape (journey/experience) Layer 3- celebration (embodied spaces) Layer 4- Diaspora Community Layer 5- Arrival and departure Layer 6- Territories; LAND, SEA and AIR

EXPERIENCE-practical contact with and observation of facts and events


Site Plan

These layers illustrate the zones of geographical mapping. The first layer illustrating zenithal morphology - the study of the ocean and its shifting traces. These zones are always in constant flux with one another. Stefano Boeri says: “to understand more about territory one must see more of it” Stratification - is a system or formation of layers, classes, or categories, stratification is used to describe a particular way of arranging seeds while planting, as well as the geological layers of rock ‘levels of reality’ but also a collective mode of conceiving space, persuaded that every stage of the city’s evolution implies and demands a new ‘leap’ in its representation. 18


Z E N I T HMorphology AL MORPHOLOGY Zenithal

Ocean O C Territory EAN TERRITORY

F Flux L U X ofOPhysical F P H Y STerritory ICAL TERRITORY

Reflection REFLECTION


ROUTES

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- LAND/SEA/AIR

S U R FA C E

THE

VERTICAL

TR


RACES

ILLUSIONS

ENTRY/EXIT

AXIS

S T R AT I F I C AT I O N


LAND

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SEA

LAND

SEA


Cape Verde consolidated my own thoughts and understanding of body and space, leading to the ‘architecture of the senses’. This was prompted by Juahani Pallasmaa’s perception of body in space. In this chapter a close distinction between site and the “sense’ has been represented. I initially looked for a site that would speak to these ideas or conditions, eventually settling on a seascape drifting between Porto da Praia and the lighthouse on Praia’s most southern point. It is a place that encompasses all the senses almost equally, an overlap of land, sea and air territories. Each of the inter-connected spaces have their own series of drawings which is revealed in this chapter. 24

The project is based on different fragments which makes up the project as a whole, this nature of work has been done intentional, Id like us


Experiment 001: ‘Routes’ through music 14.905320, -23.501625

001 Hearing the Departed 14.905320, -23.501625

Experiment 001: ‘ROUTES’: land/sea/air translated to routes in a song “sodade” by Evora Cesaria. How does one experience a journey? What rituals are in place for one to remember the journey: fondly kissing a family member good-bye or hello? Or is it simply changing the time on your watch to local time of the country you are travelling to?

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Experiment 002: ‘Tracking’ and absorbing of sound waves 14.909342, -23.510777

002 Touching the Forgotten 14.909342, -23.510777

Experiment 002: ‘SOUND’: - In this experiment using concrete as the material to

sculpt a form or surface where sound can be manipulated or changed. Through this experiment I challenged the idea of sound vibrations to generate a ‘sense’ of form or texture which can be used within the space. Concrete was a good material as it weathers over time and can take on the environmental conditions of the site.

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Experiment 003: Temperature of scents through sound 14.908834, -23.508427

003 Smelling the Past 14.908834, -23.508427

Experiment 003: ‘TEMPERATURE’: - In this experiment where sound was

used as a driving tool to manipulate experiences and emotions by using rituals of arrival and departure.

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Experiment 004: Controlled brightness and exposure 14.907964, -23.507204

004 Seeing the Memory 14.907964, -23.507204

Experiment 004: ‘BRIGHTNESS’: - Using filters to manipulate light to create

illusions of time and space. Through manipulation of light this allows one to misinterpreted perception of a sensory experience, thus creating a false idea or belief. By altering light sources (natural/artificial) to create a ‘new environment’. According to Pallassmaa: “the suppression of the other sensory realms has lead to an impoverishment of our environment, causing a feeling of detachment.

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Experiment 005: Star gazed navigation 14.910431, -23.511388

005 HYPER-SENSORY 14.910431, -23.511388

Experiment 005: ‘NAVIGATION’: - Using magnetic fields in this experiment as

a representation of visualizing the strength and direction of the space within. One would start to question where they are? And why they are feeling a certain way due to elements being abnormal and not standard.

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Experiment 006: Misty memories 14.906543, -23.509833

006 Tasting the Decibel 14.906543, -23.509833

Experiment 006: ‘MEMORIES’: - Through layers of experiences and memories of the journey between arrival and departure. This experiment is an illustration of a “new” journey through memories based on experiences. This space will allow for family members to celebrate the arrival or departure or the time in-between.

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001 Hearing the Departed 14.905320, -23.501625 Praia translated in both Portuguese and Cape Verdean Creole meaning “beach”, is the capital and largest city of Cape Verde, an island nation in the Atlantic Ocean west of Senegal. It lies on the southern coast of Santiago island in the Sotavento Islands group. It is the island’s ferry port and is home to one of the nation’s four international airports. The city center is known as Platô due to its location on a small plateau. Due to where the port is located there is an overlap of land, sea and air territories which is why this is perfectly located site for ‘sodade’. This site will encompass sounds of cargo ships departing and arriving into the islands. These sounds amplitude above and below the Atlantic ocean and will be a landscape that is activated through routes of sound and performances.

001: Tidal beats through vibration 14.905320, -23.501625

001: Silent shipping containers 14.905320, -23.501625

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001: Shift in volumes, mediated through ripples and whispers 14.905320, -23.501625


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18H00 - 12H00 OCTOBER 26-29


002 Touching the Forgotten 14.909342, -23.510777 This is a space which edges from the beach in Plateau into the Atlantic Ocean and is an environment-scape where sounds are translated into textures and surfaces. This is done over the construction period phase where materials are in state of change.

005 Hyper - Sensory 14.910431, -23.511388 Imagine oneself in a space where you cannot see, as its to dark. Allowing the rest of your senses to take control. Using touch as a way to feel your way around the space, sound as a threshold of space and location, smell and taste as indicator of where it is you may be?

002 + 005: Splashes from creeking fishing boats 14.909342, -23.510777

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002 + 005: SWOOOOOOOOOOSH 14.909342, -23.510777


005


44

16H00 - SE


003 Smelling the Past 14.908834, -23.508427 Within the Cape Verdean culture aromatic plants have been used as remedies for thousands of years and various cultures have an extensive knowledge about their medicinal properties. Traditional healing practices, supported by empirical knowledge, beliefs and procedures, play important roles, Aromatic plants are very often associated with many biological and medical applications. Within this space a variety of herbs and plants will be grown for the community to use as a collective; oregano, lemongrass, lavender, wild rosemary etc.

004 Seeing the Memory 14.907964, -23.507204 This is a space of illusion, using light and materiality to generate new memories. This is a space which can be experienced best at night due to lighting control but elements of architecture are exposed during certain times of the day due to the way light hits the surface of a material.

003 + 004: Volcanic sand stained bricks labelled “SOS� 14.908834, -23.508427

003 + 004: Whispers of the ruins 14.908834, -23.508427

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003 + 004: Echos of the ocean 14.908834, -23.508427


003

004


48

03H00 - 21H00


50

20H00 - 04H00


52

21H00 - 03H00 NEW MOON


1:10 [DETAIL 006]


006 Tasting the Decibel 14.910431, -23.511388 A space in which sound and taste go hand-in-hand to experience a ‘cloud’ of salty densities.

006: Sprays and splashes of salty densities 14.910431, -23.511388

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006: Sun refected from the Atlantic ocean 14.910431, -23.511388


006


006

tasting the decible

3.45ft - 1.05156m

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3.45ft - 1.05156m TIDAL SHIFT


1:5

1:3

1:10 [DETAIL 006]


B

58

A-B 1.05km Overall view of the spaces looking back onto Praia, Santiago Island


A

0dB

40dB 60dB 80dB 100dB


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Plan @ 1:500 A0


1:50

1:5 1:10

DETAIL 005

DETAIL 002

1.500 2.100

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006 -

1.000 1:5

005 -

‘tasting’ the decible

002 -

‘hyper-sensory’

‘touching’ the forgotten

1:50

1:5 1:10

1.500 2.100

1.000 1:5

006 -

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‘tasting’ the decible

005 -

‘hyper-sensory’

Section @ 5m long varying scales

002 -

‘touching’ the forgotten


DETAIL 001

6.300

3.000

DETAIL 003 1:10

1:10000

DETAIL 004 1:5 1:2

0.000

003 -

004 -

‘smelling’ the past

001 -

‘seeing’ the memory

‘hearing’ the departed

6.300

3.000

1:10

1:10000

1:5 1:2

0.000

003 -

‘smelling’ the past

004 -

‘seeing’ the memory

001 -

‘hearing’ the departed


Hora di Bye-Bye - Major Design Project: The Embassy of Hora di Bye-Bye | Cabo Verde

How the design relates to the senses: The Embassy entitled ‘Hora did bye-bye’ means the ‘hour of departure’, a term used by Cape Verdeans. A fact or situation that is observed to exist or happen, especially when whose cause or explanation is in question. As viewers, we ask ourselves if this place exists, or if it exists in a space of imaginary experiences or memory. “The bias towards vision, the suppression of the other senses, and the consequent disappearance of sensory and sensual qualities from art and architecture has increasingly become a concern- in the way architecture is conceived, taught and critiques.” (Holl; 2005,9) Pallasmaa describes the mechanics of seeing, looking in particular detail at what he calls ‘the gaze.’ According to Pallasmaa, our experience of the world is mediated through a combination of all five senses, not just sight. The suppression of the other sensory realms has lead to an impoverishment of our environment, causing a feeling of detachment. My Major Design Project is comprised of six inter-connected spaces, linked through their relationship to the six senses:001 Hearing the Departed. This is a landscape of routes activated through sound and performance 002 Touching the Forgotten. An environment-scape that generates sound through texture 003 Smelling the Past. Points of sound, light and temperature that capture smell and taste 004 Seeing Memory. A space of illusion, using light and materiality to generate new memories 005 Hyper-Sensory. This land- seascape spatial investigation uses direction and disorientation to generate a hyper-sensory space 006 Tasting the Decibel A space in which sound and taste go hand-in-hand to experience a ‘cloud’ of salty densities. As architects, we design architecture to capture both our physical senses (sight, sound, touch, smell) and the incognizant sense of space. The basic interconnection of the physical senses of space has long been broken down into parts of study in basic architectural design. This compartmentalization and process actually conflicts with our inherent process to conceptualize and reconnect associations between the senses.

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How the series of details are read: Each space has a series of detailed drawings which are read in conjunction with the space, and the sense and how it would either effect you as a person or the space in its entirety. Through each detail I used digital and physical models to extract how the sense would be effected on site. Each drawing has been split into three different series: Sense: Analysing the sense at varying scales Line: Scientific exploration Gaze: How site and the sense are merged


001 Hearing the departed

Through vibrations of sound/music and events this would propagate as a audible mechanical wave of pressure and displacement through medium, this being water. When those waves are bounced between carefully aligned surfaces, they can create what is known as a standing wave, in which the total pressure from the original wave and its reflection cancel each other out. Objects placed at stops along the wave with the lowest amplitude, known as node points, tend to stay put. The drawings are illustrations of both the sense and its architecture on site. Using these drawings I am able to interpret how the vibrations are effected on site at varying scales. Through these series of details I may interpret and experience the space differently than what another person may interpret the space. Each gaze of each space may be interpreted differently. Decibel scale, is the logarithmic unit used to express the ratio of two values of a physical quantity. One of the values is often a standard reference value, in which case the decibel is used to express the level of the other value relative to this reference.

60 normal conversation 1-2m 0 threshold of hearing

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110 rockband

threshold of pain 130

70 passenger car

120 jet plane take off


002 Touching the Forgotten

Using sound as the primary tool to manipulate a surface. Or simply how can a surface “track” or absorb a sound wave through music, surrounding context, ocean, fishing boats or people. Sound is measured in decibels used to express the ratio of two values of a physical quantity, often power or intensity. All building materials have some acoustical properties in that they will absorb, reflect or transmit a sound striking them. Acoustical materials are materials that are designed and used for the purpose of absorbing sound that might otherwise reflect. But in this case/design we see that through a surface. The sound absorption coefficient of a material is α = (1 − r), properties in where r, the round energy reflection coefficient, is the ratio of sound energy reflected from the surface of the material to that incident upon it. Values for a specific material depend upon frequency and upon the angle of incidence of the sound. When the sound field is approximately diffuse the corresponding quantity is denoted by αs. Absorption depends on the mounting and their details of construction and the following values should be regarded only as typical. Sound One parameter of the acoustic sound wave which is generally used to assess sound exposure to humans is the sound pressure level expressed in uPa or Pa. Human ear’ audible sound pressure levels range from 20uPa (hearing threshold) till 20 pa (pain threshold), resulting in the scale 1:10 000 000. Since using such a large scale is not practical, a logarithmic scale in decibels (dB) was introduced which is also in agreement with physiological hearing sensations.

Echo: sound + sound waves reflected = surface

A sound or sounds caused by the reflection of sound waves from a surface back to the listener.

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003 Smelling the past

Ambience points of sound, light and temperature are used as generative tools to capture the sense of smell and taste within this space. The smells are based on surrounding context, and smells which encompass the site. Smell is the driving tool used to manipulate experiences and emotions by using environmental conditions to control the ‘sense’ of the space evoking a feeling. Olfaction, is the sense of smell. This sense is mediated by specialized sensory cells of the nasal cavity of vertebrates, which can be considered analogous to sensory cells of the antennae of vertebrates. In humans, olfaction occurs when the odorant molecules bind to specific sites on the olfaction receptors. These receptors are used to detect the presence of smell.

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004 Seeing the memory

Using filters to manipulate light to create illusions of time and space. Through manipulation of light this allows one to misinterpreted perception of a sensory experience, thus creating a false idea or belief. By altering light sources (natural/ artificial) to create a ‘new environment’. According to Pallassmaa: “the suppression of the other sensory realms has lead to an impoverishment of our environment, causing a feeling of detachment. Sight and or vision is the capability of the eye/s to focus and detect images of visible light on photoreceptors in the retina of each eye that generates electrical nerve impulses for varying colours, hues, and brightness. There are two types of receptors: rods and cones. Natural vision improvement is that your eyes do not exist in isolation. Rather, they are an integral part of your total being affected by-and affecting-the body, mind and emotions in a profound way. All parts of the visual system-the eyes, the muscle around and in the eyes, the nerve pathways to the brain and the visual centres of the brain-are very delicate and require a high degree of precision, coordination and flexibility to perform optimally.

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005 Hyper-sensory

Through positive and negative in a magnet field this space takes a look at axis in the form of shift, location and directional disorientation from place. One would start to question where they are? And why they are feeling a certain way due to elements being abnormal and not standard. From a static viewpoint a system of interconnecting lines defines the limits of an object or a space. The image captured in the perspective must apprehend the image in a single concentrated gaze. I am interested in new ‘perspective’ which is not merely visual, but draws on all the senses to create a concentrated experience at specific moments. Visual perspective is focused on experiencing one view from a specific vantage point. Sensory perspective involves heightened experiences at concentrated moments.

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004 Seeing the memory Using filters to manipulate light to create illusions of time and space. Through manipulation of light this allows one to misinterpreted perception of a sensory experience, thus creating a false idea or belief. By altering light sources (natural/artificial) to create a 'new environment'. According to Pallassmaa: "the suppression of the other sensory realms has lead to an impoverishment of our environment, causing a feeling of detachment. Sight and or vision is the capability of the eye/s to focus and detect images of visible light on photoreceptors in the retina of each eye that generates electrical nerve impulses for varying colours, hues, and brightness. There are two types of receptors: rods and cones.

005 Hyper-sensory Through positive and negative in a magnet field this space takes a look at axis in the form of shift, location and directional disorientation from place. One would start to question where they are? And why they are feeling a certain way due to elements being abnormal and not standard. From a static viewpoint a system of interconnecting lines defines the limits of an object or a space. The image captured in the perspective must apprehend the image in a single concentrated gaze. I am interested in new 'perspective' which is not merely visual, but draws on all the senses to create a concentrated experience at 006 Tasting the decibel specific moments. Visual perspective is focused on experiencing one view from a specific vantage point. Through layers of experiences and memories of the journey betweenmoments. arrival and Sensory perspective involves heightened experiences at concentrated

departure one is able to interactive with the site through tidal shift dependant on the tide and the time of day, one is able to experience this space through a “cloud” of salty densities. Due to the high salt content of the Atlantic ocean one would 006 Tasting the decibel essentially be able to taste this space. Using mechanical systems below the ocean andlayers usingofwater from the ocean sprays of the oceanbetween can bearrival experienced Through experiences and memories of the journey and departure one is able to trough a deckwith overlooking the ocean. interactive the site through tidal shift dependant on the tide and the time of day, one is able to The Cape Verdean islands onlya "cloud" experience twodensities. seasonsDue instead foursalt namely: experience this space through of salty to theofhigh content of the Atlantic ocean The das Brisasbe(time oftaste the this winds) from October to midsystems July and thethe ocean and using water oneTempo would essentially able to space. Using mechanical below Tempo dasocean Chuvas (rainy season) frombeAugust to September, when there maythe ocean. from the sprays of the ocean can experienced trough a deck overlooking be heavy tropical rainfall. The coolest months are January and February (average Te Cape Verdean islands only experience seasons instead of four namely: temperature of 21 degree Celcius), wheretwo temperatures can drop down to a The chillyTempo das Brisas (time of the winds) from October to mid July and the Tempo das Chuvas (rainy season) from August to September, 16 degrees Celcius; the warmest is the month of September with an average when there of may be heavy 27 tropical rainfall. The coolest months are January and February (average temperature a pleasant degrees Celcius. temperature of 21C), where temperatures can drop down to a chilly 16C; the warmest is the month of September with an average temperature of a pleasant 27 C.

Below throughout the the year: year: Belowisisan anoverall overall of of the the tides tides throughout 6:33 AM

CVT

9:47 AM

CVT

9:55 AM

CVT

3:54 PM

CVT

6:15 PM

CVT

9:40 PM

CVT

10:11 PM

CVT

Sunrise 1.29 meters

(4.23 ft)

0.28 meters

(0.92 ft)

High Tide Moonset Low Tide Sunset Moonrise

1.33 meters

(4.36 ft)

High Tide

High intensity sounds - Less sweet/salty something may taste Low intensity sounds - More sweet/salty something may taste Flavours are suppresed by surround noises.

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'Hora' di bye-bye  

The Major Design Project has been an attempt to translate these ideas of migration, emigration, leaving, diaspora, loss and return into tang...

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