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Hunter Devine
Inter 12
Returning to the original composite imagery that generated the initial ideas of the project, a series of representational perspective views of the Image Orphanage were overlayed. In comparison to the composite image of the Villa Savoye, which distorted Corbusier's intended image of his project, the composite image of the Image Orphanage brings clarity to the projects intended image, Big Ben, and highlights the main material concepts of transparency & layering, fragmentation and light.With the car as the vehicle through which the architecture is experienced, the nature of the RGB emitting fragments becomes apparent the closer the subject moves towards the tower. From afar the RGB light is perceived in the form of Big Ben, but as the car approaches the architecture this fragments into a series of light emitting RGB spheres suspended off of transparent rods. The optimum mode of experience being at night, traveling slowly between the distances of 1km & 200m. With the car as the vehicle through which the architecture is experienced, the nature of the RGB emitting fragments becomes apparent the closer the subject moves towards the tower. From afar the RGB light is perceived in the form of Big Ben, but as the car approaches the architecture this fragments into a series of light emitting RGB spheres suspended off of transparent rods. The optimum mode of experience being at night, traveling slowly between the distances of 1km & 200m. The Image Orphanage is an archiving center for orphan work photography, a branch of copyright where the work has no locatable owner and, thus, cannot be legally used. Museums from around the UK ship their orphan work photography to the orphanage where it is digitised and stored in the tower core. The tower itself is a marker, to be viewed from the motorway, dealing with the idea of distortion of Big Ben (the most photographed building in the UK) through an examination of its photography. The spheres suspended from the tower façade distort Big Ben in two ways, both of which are experience from the Motorway.A series of models representing the ideas developed by distorting Big Ben through it's representational imagery.Corbusier understood that photography was the way in which is projects would be read and disseminated in the public realm, and strove to retain control of his architectural image through the construction of the representational photography. When these iconic images are re-enacted in the public realm, subconsciously or otherwise, the intended representation and Image of Corbusier's architecture is changed. These changes become evident when overlayed, creating a composite which changes the perfect machine for living into a cubist jumble.How far can something be distorted before it becomes unrecognisable?View of the internal courtyard of the compound, highlighting the transparency and layering of glass which composes the external walls.Close-up view of RGB component, highlighting scale and light values.