Observatories on the Earths surface are used to make observations in the radio and visible light portions of the electromagnetic spectrum. Most optical telescopes are housed within a dome or similar structure, to protect the delicate instruments from the elements. Telescope domes have a slit or other opening in the roof that can be opened during observing and closed when the telescope is not in use. In most cases, the entire upper portion of the telescope dome can be rotated to allow the instrument to observe different sections of the night sky.
There are one of these curious structures at each side of the building that I’m really interested in. Designed to support a telescope i guess.
The Crawford Observatory in UCC dates from 1880. It houses an equatorial telescope, one for which Howard Grubb, who made it, received a Gold Medal at the Paris Exhibition of 1900. The Observatory also contains a Ciderostatic telescope and Spectroscope. I stopped by to take a look at it on my cycle home.
The Observatory is a small but powerful looking building, however, it is surrounded by modern buildings and trees which mean even as one passes by you would not notice its beauty. It has a separate path leading up and its front door faces a different direction to the surrounding buildings so it’s a curious space to enter. An old photograph shows it standing alone before the other buildings were constructed in the late 1800’s, when the college was known as Queens College before Irish independence. There is no possibility of getting such a clear shot of the structure nowadays.
I facilitated the first workshop with the knit and natter group in Dunmanway library, West Cork. They were a very welcoming and lively bunch who were open to being creative with the brief!
The library had some old books which were due to be disposed of soon and the librarians were keen for us to use them to create something new.
I decided to facilitate the group to make some 3D book sculptures. I demonstrated a few simple designs and encouraged ways in which they could be creative with different combinations of those designs or their own thoughts.
It was fun and relaxed with tea and biscuits provided by the lovely librarian.
The knitting group has created some amazing projects in the past. They knit a scale model of the GPO in Dublin to commemorate the Centenery of the Easter Rising. Article from the Irish Times
The large-scale drawings are displayed with the 3D pieces adjacent to them at peculiar “floating” levels
The above photograph which I bought in a flea market during my Erasmus period in Poznan, Poland in 2016 has traveled with me from studio to studio ever since and only now has its relevance begun to transpire. The gateway frames the view of the background seascape in a very interesting and what I feel to be an uncanny fashion. Who took this? When and why?
Statement of Practice
The sensation of ‘uncanniness’ is a difﬁcult feeling to deﬁne precisely. It is felt as neither absolute terror nor mild anxiety. In his essay On the Psychology of the Uncanny (1906), the psychologist Ernst Jentsch, attributed the feeling of the uncanny (‘Unheimlich’) to a fundamental insecurity brought about by a “lack of orientation”, a sense of something new, foreign, and hostile invading an old, familiar, customary world.
I am expanding on the idea of incongruous city architecture through collage, drawing, and sculpture created from city photographs of local architecture and the changing view from my studio window that I take daily. The addition of collage to my drawing process has allowed me to experiment with scale and composition. The large drawings represent junctures of the changing city skyline; one depicting my former studio building at its demolition stages and the other, the “new” building that has just appeared within my viewpoint.
The presented work attempts to give a sense of the uncanny in the experience of city architecture. I have placed the 3D works to appear as floating buildings that do not seem to belong to a specific time or place and the large drawings intend to elevate the modernist buildings almost to the state of a castle ruin standing alone in a nondescript space, beginning to disappear beneath the horizon line.
Expanding on the idea of incongruous city architecture. The 3D pieces are some of my city photographs that I took on my walkabouts this week. It’s amazing the new things you spot. I’m fascinated by the floating/ boarded doorways and windows of derelict or demolished buildings.
The one on the left is taken from some “higgledy-piggeldy” structures in the car park behind the MA:AP studios. Most of the buildings on Grand Parade have a nice facade but at the back are super neglected.
The one on the right is taken from the demolition site of the Beamish and Crawford brewery. A floating inaccessible doorway to nowhere.
Creating architectural forms through 3D printing/ decaying forms/ demolition sites/ disappearance/ new contrasting materials within architectural forms/ Cork to have 2 new skyscrapers
Time- flaws and failures – future considerations eg. Climate change
Reading: The Elysian; Creative Responses
3D Paper Craft workshop beginning May 9th for four weeks, group of 12 – Dunmanway is a town in County Cork, in the southwest of Ireland. It is the geographical centre of the region known as West Cork.
The sensation of ‘uncanniness’ is an especially difﬁcult feeling to deﬁne precisely. Neither absolute terror nor mild anxiety, the uncanny seemed easier to describe than in terms of what it was not than in any essential sense of its own… The psychologist Ernst Jentsch, in an essay of 1906,… attributed the feeling of the uncanny (‘Unheimlich’) to a fundamental insecurity brought about by a “lack of orientation”, a sense of something new, foreign, and hostile invading an old, familiar, customary world
Meeting soon with Aoife Browne –Artist in Residence at CCAE (Cork Centre for Architectural Education)
Teaching digital fabrication in CCAE last 2 years-present
Aoife Browne, Director of ESUVIA
is Awarded FUTURE ARTIST MAKER at Fab Lab Limerick
for her artwork “Digital Veil” which is an insightful review of our boundary conditions in Ireland today.
Featured in the HYBRID Exhibition Limerick,2016.
So alas, the view from my studio window of government buildings has completely changed, it’s gone.
This is a “new building” within my viewpoint that I find interesting.
The “death” of a building and the changing skyline. I’ve been recently expanding my process to include paint and collage. I Began this large scale drawing this week. Requires stretching the paper and the application of four coats of teal paint in order to create the flatness I desire, according to a test piece. The floor appears to be the easiest for me to work on large scale paper stretching.
Paper appears buckled but as each coat dries, it returns to a nice flat stage. Will consider using a roller instead of a large brush in future to save time and an easier attained “flatness” of colour.
Noémie Goudal is a French artist who graduated from the Royal College of Art in 2010 with an MA in Photography and lives and works between Paris and London. Noémie Goudal’s practice is an investigation into photographs and films as dialectical images, wherein close proximities of truth and fiction, real and imagined offer new perspectives into the photographic canvas. The artist questions the potential of the image as a whole, reconstructing its layers and possibilities of extension, through landscapes’ installations.
Her work consists of sculptures or installations. We are confronted with, for example, industrial settings, which have been transformed into fictitious landscapes using paper backdrops, or sets where she has constructed alternative realities using another medium, such as plastic sheets to represent waterfalls.
I always work at the intersection of fiction and reality; the represented and the prevaricated in photography and heterotopias are spaces that embody this idea. They don’t belong to a particular geography but lie in between the real world and the map of the human imagination. We know the places in the images exist somewhere as they are photographed, but nothing is given away about their locations. In my new series Haven Her Body Was, I explore remote and secluded spaces and constructed the series as three chapters; caves, nests and islands. The three types of space represent, each in its own way, the idea of isolation, shelter and remoteness