Before the Morning Watch_ Phase three

before the morning watch ryan western 300313356

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

time of nature time of navigation time of fate

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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.

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

3.

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.

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.

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GRAPHIC INSPIRATION AT MULTIPLE SCALES

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 CONT.

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. ---------------------------------------------------------------------------------------

6.

BILL HAMMOND _ LYTTELTON ARTIST

Singer Songwriter (2001)

EARTH

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. ------------------------------------------------------------------------------

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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LYTTELTON _ THROUGH THE PHYSICAL

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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new

brig

hto

id l gr

l

yye lt

chrischurch city nsew grid

a ast n co

on

p

rim a

ry

gri

d

north

2km

0.5 1

0

e theme of shifting grids and he pivot of the site.

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422m

416m

192m

447m

Outline of boundaries, both g The path of the WW2 soldiers w but never retur

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459m

421m

317m

293m

218m

geographical and man-made. who left from the Lyttelton port rned is tracked.

0

100

200

400m

north

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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)

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PHASE ONE

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 guardian 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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north

37,000mm

pe

de

str

ian

london street flo

w

24,000mm

oxford street

be

fo

re t

he

mo

rn

in

gw

at

ch

historic water pipe

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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.

The

three

hanging

cantilevered

from

the

forms,

circulation

bridge, mimic the industrial

coal

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 but never returned.

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TIM

E

TIM

E

TIM

E

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TIME

TIME

TIM E

time of navigation

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time of fate

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“piece together the past and the future�

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‘Before the Morning Watch’ looks to understand and acknowledge 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. These conflicting forces help to inform the programmatic interventions.

The resulting collection of architectural pieces inhabit site. Together, they tell a unique story of time and place within the lyttelton context.

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“When time stops and

time is never ending�

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retail & shared workspace

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circulation bridge & public toilet

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hotel wall & public market

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cinema

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london & oxford street junction

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65. courtyard approach

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hotel wall vs cinema

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courtyard from above 69.

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finito