Model showing floor

1:50 SCALE MODEL OF THE GALLERY INTERIOR

The Model was made to study the 'Iconic Engineering' of the Gallery, the 'Can-Do' room, of the Judge. The ceiling shown was not the final design but one made by Elizabeth Gregory of JOA. The main point of this illustration is to show that the 'ScriptedSurfaces' would have been merely the most intelligible component of the complex laying of objects achieved in the Gallery, a requirement deliberately requested by the building owners - see the "The Social Stair " and " The Seminar-Balcony" .

One of the more gratuitous iconic eliminations was the black and white marble floor. This occurred, along with the 'planked infill' to the high-level 'Robot beams, during the panic attack we christened the 'fiat nihil' - when all 'scripted surfaces' not already built were erased in the last six months of this five-year project,. This has been built, as, indeed, a black and white marble floor, including polished black granite, a more costly material, but longer lasting.The design-change was made late in the day. No money was saved, as the design shown in the model was part of the original quotation, and available for the Tender price.

Those who understand the modest nature of our Architectural Project, merely to render buildings a fit environment for creatures with cultured minds, will understand how fundamental it is to the focal 'chamber of temporalities', for the 'Forest of Eternity' to be founded upon the hypostylar 'Ocean of Infinity'. Our pattern, at one level banal and assuring enough to any iconically challenged Euro-Elite, being congruent to an infinite number of limestone and slate entrance halls in the British Isles, embodied the two interlocking serpents who copulate in the Nun (one of the many Egyptian and Mesopotamian cosmogonies), or Watson and Crick's DNA helices - to bring them into Cambridge's own illustrious History. The floor's simple geometry enframe a disk, in each panel, of striped black and white Carrara Arabescata, of the same 5'0" (1.5M) diameter as the columns. Thus the two necessary figures, of Forest and Ocean, were simply embodied - as they have been in Wadhurst, the Isle of Dogs, Duncan Hall, etc.

The 'Video-Masonry' columns emerge like fireworks from the black and white marble floor that 'churns' with the 'waves' of a milky Ocean. Maybe, one day, they eventually will, even in Britain.

 

 

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