A Grammar of Flows
Extensity, Friction and Condensation
A Collection of architectural intentions designed by J. N. Greaves.
A Grammar of Flows ‘A Grammar of Flows’ focuses on the cultivation of spatial concepts and their translation into structures or ‘flows’ of experience.
Grammar One: Extensity ‘Extensity’ explores an instant of lived time. The duration or durée, is neither homogenous nor static but a dynamic set of conditions through which experience is drawn directly by bodily recognition, embodying a ‘fluid’ character.
From this moment of captured time and spatial design, a glimpse at what was once invisible is now identifiable. Also, interior spaces and the exterior fluidity can be separated, but connected at the same time. The connection only visible when one looks through one to another.
From the exploration of flows and fluidity, a solid state of the captured moment in time can be constructed in order to experience the atmosphere and â€˜invisibleâ€™ elements which are identifiable. This piece depicts the invisible currents and ripples around us. Through the drawing the dye flows and falls in water untouched by currents or movement, it simply moves with the invisible currents. Thus, the sculpture depicts the invisible breezes and light which touches it, which otherwise would not be seen; invisible to our eyes. For this piece it is installed diagonally across the drawing, with the lower/ heavier end above the more dominant feature of the drawing while winding out and thinning to the opposite diagonal. The unseeingly piece of wood indicates the direction which seems to be pulling the dye, it seeks the direction of the invisible currents, ripples and turbulences around us, unseen.
In isolation this form becomes visible.
However, when viewed in proximity or through another piece, a new set of spatial relationships and spaces can be experienced.
Grammar Two: Friction From Grammar One â€˜Extensityâ€™, we are able to isolate a moment of intersection or connection where it can be translated from a two-dimensional into a three-dimensional/ laminate condition. Or from the collection of artifacts or moments of experience from the site - Rozelle Bay, Glebe.
Through urbanization and nature, places are built and a hidden world is left beneath the soil waiting to be discovered. These illustrations are a discovery into what lies beneath. What friction and the coming together of land and sea, water and the shell has created. What man has hidden and nature slowly reveals to those who see.
Grammar Three: Condensation Combining the experiences and moments explored in the previous grammars, a space which enhances the experiences and moments of various discovers will to designed.
ROZELLE BAY FORESHORE The Rozelle Bay Foreshore development explores the past and present, guided by the waters that fill the bay. This project integrates and intermingles levels above and below the surface, choosing certain elements to enhance and bring to our attention. The spaces created are designed to form intimate spaces of reflection and contemplation. All the spaces are visible to certain degrees through nature and proximity. Walking down the ramp beneath the surface the water from the pool above falls down the sides following you as you wander through to a set of platforms to another pool hidden by vegetation. Then the above water from the bay flows down as a waterfall to the pool below, leaving only one entry to the space of contemplation and reflection. While at this space the ground surface water meets the lower level water pools, intermingling the ground planes. While on the surface the foundations and varying ground conditions are revealed through viewing points in the floor. We also experience the site from varying perspectives, on the surface, in the surface, above the surface and below the surface. While, ultimately the form of the development was formed from the site plan and history of 1955.
LOWER GROUND FLOOR PLAN
SEAT DETAIL SCALE 1:20
GROUND FLOOR PLAN
PATH OF THE WATER - DIRECTION OF CIRCULATION