A printed catalogue of work by post-graduate Architecture students participating in the designate programme and specialising in printmaking; show-cased in the gallery space at Knights Park and titled SURFACE 16

Houghton, Jane

Kingston University Research Repository

Printmaking DesignatePostgraduate School  of  Archi tecture and Landscape 2015-2016The aspirat ion for  the designate programme was to al low a smal l  group of  students in post-graduate Archi tecture to explore the potent ia l  for  the medium of pr intmaking as a means to represent and generate project work.The group have been encouraged to t ry di f ferent techniques where appropriate and to bui ld up a body of  work that  demonstrates a range of  processes and ideas.I  have also part ic ipated both as a tutor and a maker.  Jane Houghton Fol lowing a student f ie ld t r ip to Porto,  I  have produced a ser ies of  smal l  works inspired by Alvaro Siza’s Leca da Palmeira in the beachside suburb of  Matoshinos.The looser larger composi t ions are abstracted si te drawings of  Vi la Nova de Gaia showing the r iver Douro and roof-scape of  the port  wine lodge bui ldings. Leca da PalmeiraIntagl io.  Aquat int .  Ink on Somerset4Leca da PalmeiraMono-pr int .  Ink on Somerset Sat in6Leca da PalmeiraMono-pr int .  Ink on Somerset Sat in8Vi la Nova de GaiaMono-pr int .  Ink on Somerset Sat in10Vi la Nova de GaiaMono-pr int .  Ink on Somerset Sat in12Vi la Nova de GaiaMono-pr int .  Ink on Somerset Sat in14Vi la Nova de GaiaMono-pr int .  Ink on Somerset Sat in16Vi la Nova de GaiaMono-pr int .  Ink on Somerset Sat in1820Daisy BakerPr intmaking has been an essent ia l  part  of  my studio work th is year.  I t  has been a useful  tool  for  unlocking ideas, the understanding of  s i te and in i t ia l  proposi t ional work.  The process has al lowed me the freedom to th ink through making, al lowing the product ion of  some much looser but careful ly considered work,  which has informed the themes for my studio project.I  have been using the medium to explore composi t ion and layer ing. In i t ia l ly invest igat ing si te through memory and culminat ing in proposi t ional  ideas including exper ient ia l  perspect ive,  or ientat ion and views out.  I  have worked at  a var iety of scales f rom detai ls to aer ia l  v iews, as wel l  as a mixture of  precise and imagined work.   Ancient ThresholdMono-pr int .  Ink on cartr idge paper22The LaneMono-pr int .  Ink on cartr idge paper24Between the Sea and VesuviusMono-pr int .  Ink on cartr idge paper26View over the wal lMono-pr int .  Ink on cartr idge paper28Layers of  Pompei iMono-pr int .  Ink on cartr idge paper30Memory of  Napol i  1Mono-pr int .  Ink on Somerset sat in32Memory of  Napol i  2Mono-pr int .  Ink on Somerset sat in34Via dei  Tr ibunal iMono-pr int .  Ink on cartr idge paper36VistaMono-pr int .  Ink on cartr idge paper38Stucco Rel ief  at  Pompei iMono-pr int .  Ink on newsprint4042Rima BozPrintmaking has given me the opportuni ty to explore and invest igate new ideas. I t  has become a tool  and a guide to my design project.  I  enjoy working loosely, especial ly wi th mono-pr int ing, as i t  doesn’ t  restr ict  drawing to certain dimensions or spaces. I t  became a technique where I  th ink through making.Our studio went on a study tr ip to Spain,  where we drove from North to South, v is i t ing ci t ies of  Santander,  Val ladol id,  Madrid,  Cordoba and f in ished at  Malaga. I  was real ly intr igued by the di f ferent coloured elevat ions;  the concrete,  the stained steel  work,  weathered metal  and the pale stones of  Cordoba. Our project s i te is at  the Barbican. Again,  the elevat ions became intr iguing, wi th the di f ferent types of  concrete f in ishes; pick hammered and bush hammered concrete.  My si te was located in the areas of  the London Wal l .  Using mono-pr int ing as a method, I explored designs on my si te.Concrete ToneMono-pr int .  Ink on Somerset Sat in44Concrete ColourMono-pr int .  Ink on Somerset Sat in46WeatheredMono-pr int .  Ink on Somerset Sat in48Aged SteelMono-pr int .  Ink on Somerset Sat in50Variat ion of  Mater ia lsMono-pr int .  Ink on Somerset Sat in52Inter locking SpacesMono-pr int .  Ink on Somerset Sat in54BarbicanMono-pr int .  Ink on Somerset Sat in56Concrete against  Br ickMono-pr int .  Ink on Somerset Sat in58London Wal l Mono-pr int .  Ink on Somerset Sat in60New against  o ldMono-pr int .  Ink on Somerset Sat in6264Stephan Humphrey-GaskinPrintmaking, in particular the monoprinting process, has been a very useful tool this year in teasing out the raw qualities of the rugged suburban landscape of Bagnoli with the vast Phlagrean Fields (Campi Flegrei) and former industrial monuments strategically scattered within. Using a wide range of techniques and experimentation has allowed me to produce prints that strongly capture the essence of the site. It is not hard to be fascinated by the ‘as found’ qualities of the place, allowing me to get very passionate about the recording of this. It has furthermore allowed for the beginnings of a new ‘urban quarter’ within the site, with a few more ‘instantaneous’ prints that were done in a painterly manner, looking at an interaction with via Coroglio (the long stretch of road that passes adjacent to the former Italsider steelworks) and the two crumbling concrete and tufa walls that contain it.A dramatic moment within the historic centre of Naples whereby two churches appear to create a gentle ‘breath’ in a long narrow road was captured using both controlled methods using a stencil of the plan and a more painterly approach.Bagnol i  #2Mono-pr int .  Ink on Somerset Sat in66Bagnol i  West PlanMono-pr int .  Ink on Somerset Sat in68Bay of  Bagnol iMono-pr int .  Ink on Somerset Sat in70BreathMono-pr int .  Ink on Somerset Sat in72Breath #2Mono-pr int .  Ink on Somerset Sat in74Cement Product ion RuinMono-pr int .  Ink on Fabric76City Quart iere,  Bagnol iMono-pr int .  Ink on Somerset Sat in78Framing NisidaMono-pr int .  Ink on Somerset Sat in80Science Park RuinsMono-pr int .  Ink on Somerset Sat in82Monuments Sect ionMonoprint .  Ink on Somerset Sat in8486Harry Insal l -ReidPr intmaking this year has become an explorat ion into ideas about atmosphere and the connect ion between land, sky and bui l t  form. Some pieces are produced with mult iple,  di f ferent layers.  Some pieces are created through just  one plate pr int .  Others use the remnants of  a previous pr int  as the plate background and is worked over wi th a second layer creat ing depth and repeated mark making.Our uni t  t r ip ran through the heart  of  Spain start ing from Santander,  through Val ladol id,  to Madrid,  through Cordoba and f in ished on the south coast in Malaga. There was a r ich var iety of  landscape, skies,  weather,  bui ldings techniques, old and new structures.  I  became most interested in the open spaces, dist inct  l i t t le bui l t  e lements and the changing sky and landscape. The Barbican fr inges became our s i te for  the studio project.  Dur ing vis i ts the weather was dark,  ra in ing and stormy. I  t r ied to emphasise th is dramat ic combinat ion of powerful  bui l t  form and raging weather to create atmospherical ly dominant ideas about place, space and l ight .  The f inal  pr ints are f rom New Zealand. I  set  about composing a set  of  landscape pieces from the Coromandel peninsula,  Tauranga, Mount Maunganui,  Chr istchurch and the Fiordlands which responded to the changing beach, alpine, forested and ci t ied landscapes and skies.Barbican Roof Tops at  NightMono-pr int .  Ink on Watercolour Paper88Barbican Centre GlowsMono-pr int .  Ink on Watercolour Paper90Kuaotunu at  DuskMono-pr int .  Ink on Watercolour Paper92Mil ford Dr izzleMono-pr int .  Ink on Watercolour Paper94Skywalk in Elevat ionMono-pr int .  Ink on Watercolour Paper96Barbican PoolMono-pr int .  Ink on Watercolour Paper98Cordoba White RooftopsMono-pr int .  Ink on Watercolour Paper100Val ladol id LandscapeMono-pr int .  Ink on Watercolour Paper102Museo D’Al tamaira Entrance SequenceMono-pr int .  Ink on Somerset Sat in104Barbican Street Composi t ionMono-pr int .  Ink on Newsprint106108Joshua Lancef ie ldIni t ia l  invest igat ions into the layers of  the ci ty have permit ted an understanding of the mono-pr int ing process through a number of  plan studies.  Further development has al lowed a number of  control led composi t ions to be juxtaposed against  part icular abstract ions.  Abstract ions through windows in a part icular context  that  begin to discuss layers f rom an al ternat ive perspect ive.  The idea of  the relat ionship between the ci ty beyond and the room within has opened up a number of  discussions regarding design proposi t ions.Histor ical  Layer ing, Camden TownMono-pr int .  Ink on Somerset Sat in110Histor ical  Layer ing, Camden Town, Nol l i  P lanMono-pr int .  Ink on Somerset Sat in112Foreground BoundMono-pr int .  Ink on Somerset Sat in114Runaway RoofscapeMono-pr int .  Ink on Somerset Sat in116Beyond the Balustrade, FabrianoMono-pr int .  Ink on Somerset Sat in118Texture Beyond, FabrianoMono-pr int .  Ink on Somerset Sat in120Back nor Fore,  Fabr ianoMono-pr int .  Ink on Somerset Sat in122Unti t led, Fabr ianoMono-pr int .  Ink on Somerset Sat in124Unti t led, Fabr ianoMono-pr int .  Ink on Somerset Sat in126Bui l t  vs PlantedMono-pr int .  Ink on Somerset Sat in128130Ioannis Nik i for idisThis year Uni t  3 has been looking at  housing solut ions.  I  began by studying John Nash’s ser ies of  semi detached vi l las at  Park Vi l lage east and how their  footpr ints relate to each other in form, scale and proximity. The Study tr ip to Mi lan provided an opportuni ty to examine Piero Portaluppi ’s Vi l la Necchi  as an example of  housing at  a much grander scale and with an opulent mater ia l i ty . F inal ly research into the histor ical  context  of  my si te at  Regent ’s park Lead to the discovery of  John White’s or iginal  design where a ser ies of  v i l las were placed around the per imeter of  the park creat ing a r ibbon of  indiv idual  plots which lends i tsel f  to my si te as a start  to my proposal .Figure Plan 2 of  John Nash’s Park Vi l lage EastMono-pr int .  Ink on Somerset Sat in132Figure Plan of  John Nash’s Park Vi l lage EastMono-pr int .  Ink on Somerset Sat in134Figure Plan 2 of  John White’s Regent ’s ParkMono-pr int .  Ink on Somerset Sat in136Figure Plan of  John White’s Regent ’s ParkMono-pr int .  Ink on Somerset Sat in138Marble Floor Plan of  the Garden Room in Vi l la Necchi  by Piero PortaluppiMono-pr int .  Ink on Somerset Sat in140Plan 2 Showing Plots of  John White’s Regent ’s ParkMono-pr int .  Ink on Somerset Sat in142Plan Showing Plots of  John White’s Regent ’s ParkMono-pr int .  Ink on Somerset Sat in144146AlumniNana Biamah-OfosuAlex Buck Ben ShawNana Biamah-OfosuFields and Terr i tor iesMono-pr int .  Ink on Somerset Sat in148Nana Biamah-OfosuBui lding EnsembleMono-pr int .  Ink on Somerset Sat in150Alex BuckFading LinesMono-pr int .  Ink on Seawhite Cartr idge152Alex BuckCity EdgeMono-pr int .  Ink on Seawhite Cartr idge154Ben ShawRegents Park -  a patchwork landscape, 1789Mono-pr int .  Ink on Somerset Sat in156Ben ShawRegents Park -  a structured parkland, 1811Mono-pr int .  Ink on Somerset Sat in158160Project Leader:   Jane HoughtonPart ic ipants:  Daisy Baker   Rima Boz   Stephan Humphrey-Gaskin   Harry Insal l -Reid   Joshua Lancef ie ld   Ioannis Nik i for idisAlumni:   Nana Biamah-Ofosu   Alex Buck   Ben ShawWith thanks to:  Ioannis Bel impasakis   Graeme Mackay   Ol iv ia Wal ler   Marianne Keat ing   Kate Jenkins   Bruce Morgan   Sean Wyatt      Nick Richards

SURFACE

http://eprints.kingston.ac.uk/36520/1/Printmaking_Catalogue16.pdf

SURFACE

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