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In the past couple of sessions, I have been exploring the British Newspaper Archives something has come to my Attention. I remember when I was studying for my undergrad dissertation and the struggle with viewing the Newspapers. The newspapers stored at the Herbert art Gallery, History Centre used microfilm, allowing the image to be preserved. These often had to be booked for viewing so I subscribed to The BNA to get the sources I needed. The problem however is what I have just run into. Below is an 1879 Advertisement for Colman’s Mustard and Given it’s age we should be just grateful we can see the piece in all its glory.


Obviously, though I would love to have a better quality piece but ah well. I do promise to go back to posting satire but I make no exceptions.

Source  -  Coventry Standard  Friday 21st November 1879

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He is one of the great american book writers in the 20 century. He has written many short stories, but he is famous for writing The Great Gatsby. His learning disability was most likely related to dyslexia.


I have been researching him because it was part of my hunt for story tellers who have learning difficulties, just like me. I wanted to remind myself that even when I have difficulties to learn, I will still have a future based on other people who already have a future.

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Jane Rendell

“the objects that she produces allow for metaphorical as well as physical connections to be made with the contexts in which they are positioned, provided with a pertinent ideological and historical location the work can resonate strongly, drawing out meanings buried within the site.” 129

“the architectural design process reveals a complex set of literary references and spatial concepts that the physical experience of the architecture does not always communicate. For some this has been seen as a failing, but it is possible to get to know a building on a number of levels … intellectual, emotional and physical.” 133 - layers

“focus on the integrity of poetic composition adds another dimension to our consideration of the insertion of words into locations to bring to the surface past occupations that have been erased through history. Her argument emphasizes how, in positioning words in particular locations, we are bringing together two different and not necessarily compatible signifying structures.” 141

 “insertion of a new later into an existing context in order to destabilize historical meanings, allowing the slowness of listening, reading and walking to interrupt the more public and instantaneous moment of looking. The new elements draw attention to repressed aspects of the site and its history, bringing the what-has-been into direct relationship with the now.” 143

“moments where the viewer is required to act as critic and to engage in a slower time, a different thinking, one that takes the encounter with the work as integral to the writing of a dialectical image” 143

Rendell, Jane. The ‘What-has-been’ and the Now. Art and architecture: A place between. London, Tauris, 2006, pp. 121-143. 

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Jane Rendell 

When we, as nonarchitects occupy a space, when we start to use it, we start to ‘do-it-ourselves’. But we do this in an already occupied territory, where the activity of doing architecture has been classified and claimed by architects. The rules have already been established; rules about site and space; about permanence, structure and stability; about the relation of form and function, the design of details, the installation of services, the arrangement of furniture and the application of decoration. 136

Distinct social identities of resistance and difference can be represented through the use (and re-use) of space and materials. Particular kinds of occupational activities develop different rhetorics of architectural use, some reinforce dominant modes of spatial behaviour, others choose to resist them 137

’,transgress architectural and social definitions of domestic space and time,implying blissful and dangerous notions of disorder and impermanence. These spatial and temporal rhetorics of use are strategies of resistance. They stem from a desire to challenge ideas, within architectural practice and integral to patriarchal and capitalist society, about the ways we occupy and inhabit space. 138

Spaces evolve through more amorphous living arrangements, the placing of boundaries which re-negotiate the conventional divisions of public and private domesticity 140

Distinction is constructed through a self-conscious and eccentric relationship with architectural principles and components. 140

“walls were removed rather than built. This was not to enable the free flow of pure space as in the modernist open plan, but rather to intensify the occupation of space by overlaying one kind of living over another—the way the place should have been used, with its (un)doing. We might call this a new mapping of domestic space, a questioning of the boundaries of bodies and places. Architecture is soft like a body if you (un)do it”. 141

Challenging the propriety of structure questions the ordered comforts of domestic routine, but also starts to tip the balance of safety and danger 142

Rendell, Jane. Doing It, (Un)Doing It, (over)Doing It Yourself. Occupying Architecture. London Routledge, 1998.    

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Toni-Rose Brookes

(inside and outside) “The connection between the two plays a fundamental role in our relationship and understanding of the environment in which we live in. The details of these connections are often neglected and standardised ideals and components are regularly implemented without much consideration in regards to the context in which they are being established.” 4

“Perceptually and practically the worlds of interior and exterior are mutually exclusive one cannot be in both at the same time, and yet traditionally they border directly on each other.” 4

“the boundary condition” - in-between  4

“Aim to achieve architecture, where one is able to interact with the structure and help to adapt the space surrounding in order to accommodate the activities and behaviour of the occupants whilst enabling a comfortable space in regards to the climatic conditions. With an objective to live with nature and the surrounding environment achieved through blurring the spatial boundaries, forcing one to acknowledge and establish a simultaneous relationship where one can interact and co-exist between the two realms” 4

“The details of the connections between inside and outside space, for example, walls, doors and windows are often neglected and standardised ideals and components are regularly implemented without much consideration in regards to the context in which they are being established” 6

“We base architecture highly on history, with the increasing development of technology our environments, society and our inhabitation of the two is also changing,” 6

“The connection between inside and outside plays a fundamental role in our relationship and understanding of the environment in which we live in. There is so much to learn from the both the inside and outside, that there is an opportunity to shift the focus toward combining the benefits of which both inside and outside obtain, leading to the idea of blurring the boundaries.” 6

“creating spaces which enable one to co-exist between the two spatial realms of inside and outside simultaneously as well as relating to the performance of the building overall, looking to the environment in which you are situated” 6

“We as humans inhabit the ‘environment’ which is large and very exposed, often referred to as the ‘outside’, which to some poses the threat of danger and exposure, which in turn leads us ‘humans’ to a need for protection, shelter and privacy, this space can be known as the ‘inside’.” 10

“As human beings we are not only a part of the environment but we are dependent on the environment. We rely on the elements in order to survive.” 12

“The differentiation between this ‘outside’ and ‘inside’ is defined by humans behaviour and perception. A physical boundary is often implemented but is not essential. This space becomes the ‘inbetween’ it could be known as a connection, a line of tension, a boundary, a transitory space.” 12

“The outside can not exist without an inside, because one cannot exist without the other. Both inside and outside are self contained spaces, just as we are individual elements within the environment.” 15

“Though we have a certain measure of dependence on the environment and outside, we are not inextricably linked to its rhythms. We don’t have to rigidly follow the seasons, or the cycle of day and night. We posses the means to live, work and relax practically when and where we choose. Because of this individual nature, we are continuously attempting to locate ourselves in space. To do this we must carve out a natural space, an area which we can dominate with our presence” 16

“Architecture must provide in regards to the space which is inside, a shelter that protects its inhabitants against unwelcome outside forces and offers them a congenial internal environment. (Arnheim, 1977, p. 92)” 17

“The between can be defined as an intermediate point to two other points in time and space or indicating a linking relation or comparison” 17

“bridged by the mobility of man, who, more or less passes freely from one realm to the other.” 18

“In early styles of architecture this crossing of the threshold or traditional differentiation was a practical matter of piercing the walls with standardised components such as doors, but it is not acknowledged by a continuity of outside and inside in the form of the building” 18

“the inbetween, which allows one to establish a relationship between the two.” 19

movement as a technique - “The quality of visual movement defines the strength of the links between inside and outside, the amount of “involvement” each has with the other. By providing in-andout motion, through channels of access, or openings, both the man made and natural realms of our world are re-connected.” 23

“The “Cut-Out” Opening… The “Framed” Opening… The “Screened” Opening…  The “Splayed” Opening” 25

“Thresholds hold the potential of an inclusive realm, where the introduction and maintenance of difference is possible. Unlike the idea of inclusion, where identities are blurred to create a compromised whole, threshold as an operation enables the preservation of difference, as well as the creation of something new from their coexistence. (Berrizbeita & Pollak, 1999, p. 82)” 26

“The orientation of a space to the outside may be provided in two ways: 1. By coupling a simple opening with and external focus or, 2. By “pointing” to the outside with a “visual channel”” 28

“Every inside reflects by its structure, to a larger or smaller degree, the specific outside from which it intends to distinguish itself.” 28

“When a building is completed it becomes one with the plot of land on which it sits. The context of a building, including the landscape and setting of which it is placed in, is fundamental to the overall perceived outcome and visual expression produced by the architectural shapes which are constructed.” 29

“It is the connection and differentiation between the spaces of inside and outside in the relationship of space which overall produces architecture, and it is the consideration of the relationship between the site and the occupant that will overall enable succesful spaces to be produced. This in turn creates not only a unique design, but one that forces its occupants to acknowledge their connection to the environment, and to both challenge and re-think the relationship between the spatial realms of inside and outside” 96

 Brookes, Toni-Rose, and Tobias Danielmeier. Submitted in Partial Fulfillment of the Master of Architecture (Professional). p. 100.  

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Since the BAW2.2 Report, I have been focusing on the creation of 3D Assets and Camera Shot Design in the Previsualization stage which I also wrote about as a development tool in my BAR13.2 Revised Lit Review. This is for my Worldbuilding and Visual Effects Major.

Keep reading

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pros of working 12+ hours straight on a holiday/day off

  • didn’t binge and purge
  • stayed sober
  • felt relatively productive & accomplished

cons of working 12+ hours straight on a holiday/day off

  • didn’t eat enough
  • imposter syndrome flared up
  • didn’t get to enjoy the beautiful weather
  • missed my yoga class
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There’s no use pretending Covid-19 hasn’t had a massive effect on everyone everywhere forever. This is one of those collective consciousness altering times in history. We are all experiencing it in real time, together and also in virtual time.

As an accompaniment to my Xanadu-inspired poster series, I am posting the growth of the small natural world on my patio. I will be experimenting with different filters and overlays as I digitize my hand-drawn poster, so I am doing the same with my surroundings. Perhaps it will generate some collateral that will look good incorporated into the designs, perhaps not. 

The darkened images are color dodged overlays.

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