Before the Morning Watch_ Lyttelton Multi Program Community Intervention

before the morning watch ryan western

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THE DRY SALVAGES _ THE FOUR QUARTETS. T. S. ELIOT

time of nature time of navigation

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time of fate

INTRO

The ‘morning watch’ are the sentinels who arrive at the moment of dawn, the changeover to a new day. Before the morning watch is the threshold between the darkness and the light... the changeover of sentinels. Adding to these sentinels, the design acts as a chronometer. An indicator of not only time, but place as well.

Man’s elimination of the now extinct birds depicted in Hammond’s work.

Man’s elimination of the connection to Lyttelton’s water’s edge.

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Nature’s elimination of the built fabric post-earthquake.

FRUSTUM UPPER CHAMBER_ PHYSICAL ETCHING NEIL SPILLER _ 2014

“Prints can never be repeated; the darkness, the forward moving time of night, becomes permanent. But the time of the night remains behind on each piece of paper as a preserved remnant.� DKB

Each print tells its own unique story.

And when combined, they tell the whole tale.

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The medium of physical print making is of particular interest. These prints by Neil Spiller depict similar ideas to the T.S Eliot poem; The Dry Salvages. Layering prints on top of each other gives an interesting allusion of time. The physical trace of the night before remaining even upon the arrival of day.

These precedence encapsulate the archetype relevant to the Lyttelton context. Anthropomorphism which is used to symbolise guardians of the town- much like Bill Hammonds birds.

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GRAPHIC INSPIRATION AT MULTIPLE SCALES

GRAPHIC INSPIRATION CONT.

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The images one the left are paintings of New Zealand landscapes, ideas of politics and loss are integrated. The images on the right begin to blend painting and architectural drawing. Multiple different scales are explored. ---------------------------------------------------------------------------------------

BILL HAMMOND _ LYTTELTON ARTIST

Singer Songwriter (2001)

EARTH

Cave Painting 5 (2008)

Hammond manipulates horizon lines and the bird-man sentinels within his paintings to tell distinctly different stories. Through these manipulations, an understanding of time is gained. With a distant horizon, the meeting of land and sky, the reader takes on ideas of future.

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Cave Painting 5 acrylic on board in original artist selected frame. ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

The Fall of Icarus (1995)

PORT

When they first appeared, hanging out in seedy bars and perched on land precipices waiting for the ‘bird-stuffing’ Buller to finally return and face the music, they appeared as very much part of the human world, as part of our world. ----------------------------------------------------------------------------

All Along the Heaphy Highway (1999)

HARBOUR

The Fall of Icarus takes a work by Dutch artist Pieter Bruegel the Elder (c.1558) as a pivotal reference. The same compositional format – elevated viewpoint, figures in the foreground and the tiny body of the fallen Icarus disappearing into the sea. ----------------------------------------

HORIZON

A gang of giant birds sits on a hill watching a lonely and threatened car drive past far below; the sense that hooked bill and claw wait for a time of vengeance lies only thinly veiled below the surface of this and many other works. ------------------------------------------------------------------------------

LYTTELTON _ THROUGH THE PHYSICAL

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Site plan diagram unpacking characteristics of both the streetscape surrounding site and the port starving Lyttelton of the water edge. Simplifying multiple grids to a single line provides potential inspiration for site a intervention. The honest, yet beautiful grit of the blue collar port can be seen to clearly contrast stopping abruptly at the boundary of the grid line.

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Sketches exploring the essence of Lyttelton. These images provide framed views of the greater context of the town.

Individual identities sitting within a greater whole.

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This diagram introduces the rotation around th

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Outline of boundaries, both geo path of the WW2 soldiers who never returne

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ographical and manmade. The left from the Lyttelton port but ed is tracked.

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Isolating individual elements & characteristics of context in order to reconnect. Multiple stories merged into one holistic story.

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ARCHI TOOLSET (IN DEVELOPMENT)

PHASE ONE

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PHASE TWO

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An archetype of which encompass the honest grunge of the blue collar port. Over looking sentinels begin to break the boundary of the port and the cbd of Lyttleton. Sightliness stretching well beyond the physical limitations of the port fence.

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A gaurdian of time and place for all of lyttelton

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programmatic illustrations

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massing parti diagrams developed from program illustrations

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‘Older than the time of chronometers’

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The

conceptual

intervention

addresses issues of time. Time ‘older than chronometers’. Telling stories specific to the Lyttelton site whilst incorporating

program

truths.

Understanding and acknowledging the influence of the three grid shifts; The local urban grid, the North, South, East, West grid and the skewed grid of the port wharfs.

The following graphics depict the passing of time, both throughout the day, and the overcoming of night.

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mine. The first two masses look straight out to the wharfs. In WW2, these wharfs are where the soldiers of the south island left to war. The third housing pod turns toward the direction in which these ships left

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but never returned.

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time of nature

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time of navigation

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time of fate

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