WEBVTT 1 00:00:00.000 --> 00:00:10.000 [MUSIC] 2 00:00:10.000 --> 00:00:14.600 Hello, I'm David Hills from the architectural studio DSC at Cheyote 3 00:00:14.600 --> 00:00:17.000 which co-founded with Deborah Sawn. 4 00:00:17.000 --> 00:00:21.720 And I'm going to give a very short talk about our work with 5 00:00:21.720 --> 00:00:27.000 the ceramic artist and writer Edmund DeValle on two projects we did with him. 6 00:00:27.000 --> 00:00:32.000 Both in in in South London. 7 00:00:32.000 --> 00:00:36.000 It started with a project which you see on the screen here. 8 00:00:36.000 --> 00:00:40.000 This is a really modest studio in Tullsill. 9 00:00:40.000 --> 00:00:44.000 There's a two-story brick building which you see on the right. 10 00:00:44.000 --> 00:00:49.000 And formally it had a yard in the middle in the center of the screen which was 11 00:00:49.000 --> 00:00:50.000 used for parking. 12 00:00:50.000 --> 00:00:53.000 And our work essentially was very simple. 13 00:00:53.000 --> 00:00:57.000 It was a very modest series of additions and emissions to that space. 14 00:00:57.000 --> 00:01:02.000 Which began with covering the yard. 15 00:01:02.000 --> 00:01:08.000 A simple polycarbonate roof. 16 00:01:08.000 --> 00:01:13.000 It was insulated, polycarbonate roof would provide a really diffuse light into 17 00:01:13.000 --> 00:01:13.000 a space 18 00:01:13.000 --> 00:01:18.000 which was going to become the studio for throwing, for making the work. 19 00:01:18.000 --> 00:01:23.000 And what you see in the foreground two black concrete objects. 20 00:01:23.000 --> 00:01:28.220 Plinths essentially in that space which one became a one was for a kitchen and 21 00:01:28.220 --> 00:01:30.000 one was a utility flint. 22 00:01:30.000 --> 00:01:33.000 And a really simple, screated floor. 23 00:01:33.000 --> 00:01:36.000 So we just it was almost a DIY project. 24 00:01:36.000 --> 00:01:40.160 And in the foreground or also in the background, the sort of flexibility that 25 00:01:40.160 --> 00:01:42.000 you see in this space is a series of tables 26 00:01:42.000 --> 00:01:44.000 which could be moved through the space. 27 00:01:44.000 --> 00:01:48.410 And that's probably fundamental I think to the conversations which start 28 00:01:48.410 --> 00:01:51.000 everything in terms of our work with Edmond 29 00:01:51.000 --> 00:01:55.000 and also the dialogues that he introduces through his work. 30 00:01:55.000 --> 00:01:59.990 On the wall in the background you see a fine shelf with one of the 31 00:01:59.990 --> 00:02:02.000 installations being tested. 32 00:02:02.000 --> 00:02:06.610 And this is almost a conversation between the pieces themselves and on the 33 00:02:06.610 --> 00:02:09.000 shelf but also the shelf in the space. 34 00:02:09.000 --> 00:02:14.120 And the table becomes a sort of point of dialogue and conversation where team 35 00:02:14.120 --> 00:02:17.000 members and visitors would have conversations. 36 00:02:17.000 --> 00:02:20.000 So that's a threshold when you enter into the space on the right. 37 00:02:20.000 --> 00:02:23.000 The black object contains a small kitchenette. 38 00:02:23.000 --> 00:02:28.370 The left you see the utility sink for the workshop screened from view when you 39 00:02:28.370 --> 00:02:29.000 come in. 40 00:02:29.000 --> 00:02:33.570 And those two pieces just frame conversations in the space about how the work 41 00:02:33.570 --> 00:02:34.000 was made. 42 00:02:34.000 --> 00:02:39.260 And that was almost all that we did in the kind of main studio space but on the 43 00:02:39.260 --> 00:02:43.000 left you can see an opening through into the more functional rooms on the 44 00:02:43.000 --> 00:02:44.000 ground floor 45 00:02:44.000 --> 00:02:48.980 was room separated for the kiln which was obviously much hotter and had 46 00:02:48.980 --> 00:02:50.000 ventilation. 47 00:02:50.000 --> 00:02:54.000 And a small staircase that would take you upstairs to the writing studio. 48 00:02:54.000 --> 00:02:58.130 So what was really interesting was this is idea of making Edmond of the works 49 00:02:58.130 --> 00:02:59.000 with ceramics. 50 00:02:59.000 --> 00:03:04.530 And we were making ourselves that all these black concrete plinths and the 51 00:03:04.530 --> 00:03:11.000 sharp contrast between the roughness and the concrete with a fine ceramic work 52 00:03:11.000 --> 00:03:17.070 was something which really interested, I guess, both of us, about how the work 53 00:03:17.070 --> 00:03:18.000 was framed in different settings. 54 00:03:18.000 --> 00:03:23.760 So that carried on upstairs wherever we could, we would introduce opportunities 55 00:03:23.760 --> 00:03:27.000 for the display of working to secret spaces. 56 00:03:27.000 --> 00:03:31.880 But the upper studio where it's being filled to courtyard on the upper studio 57 00:03:31.880 --> 00:03:34.000 though it was about a mission. 58 00:03:34.000 --> 00:03:38.000 So we cut a slot in a roof to bring natural daylight in. 59 00:03:38.000 --> 00:03:43.100 And this created a quieter separate space away from the kind of dust, it's 60 00:03:43.100 --> 00:03:48.000 incredibly dusty in fact the work that the work spaces themselves. 61 00:03:48.000 --> 00:03:52.710 So upstairs was removed from that and it gave a more secluded space for writing 62 00:03:52.710 --> 00:03:55.000 and the research by the list time. 63 00:03:55.000 --> 00:03:59.630 Edmond was already a kind of fairly distinguished writer having written 64 00:03:59.630 --> 00:04:05.000 definitive volumes on 20th century ceramics and burn of leech but before 65 00:04:05.000 --> 00:04:08.000 hair with amber eyes, for instance, was written. 66 00:04:08.000 --> 00:04:14.420 So this writing studio was already a really important part of the space, but it 67 00:04:14.420 --> 00:04:20.000 's removal from the studio also gave the opportunity for it to be cleared out 68 00:04:20.000 --> 00:04:23.000 and used more cleanly for display. 69 00:04:23.000 --> 00:04:30.150 So he could bring in clients, galleries to share pieces of work with them and 70 00:04:30.150 --> 00:04:33.000 see it in a cleaner setting. 71 00:04:33.000 --> 00:04:38.590 So very modest project that gave these kind of three kind of core spaces, the 72 00:04:38.590 --> 00:04:44.200 workshop space, the writing space and then linked to that and slightly separate 73 00:04:44.200 --> 00:04:45.000 their kiln room. 74 00:04:45.000 --> 00:04:52.130 But it wasn't long before this studio was no longer large enough for the scale 75 00:04:52.130 --> 00:04:59.370 of Edmond's work, because at the time of finishing this Edmond was working on 76 00:04:59.370 --> 00:05:08.000 the amazing signs and wonders installation at the Victorian Albert Museum. 77 00:05:08.000 --> 00:05:15.470 That piece, which is up in the dome and the entrance, all of you haven't 78 00:05:15.470 --> 00:05:17.000 visited it. 79 00:05:17.000 --> 00:05:23.870 It's a red powder coated aluminium channel, which is 11 and a half metres in 80 00:05:23.870 --> 00:05:28.890 diameter, or 35 metres, the conference that has over 400 pieces of ceramic, gl 81 00:05:28.890 --> 00:05:34.000 azed ceramics in the channel. 82 00:05:34.000 --> 00:05:41.380 So that studio that we were in in Tullfield was being used to try and mock up 83 00:05:41.380 --> 00:05:45.830 this piece, but obviously couldn't give the scale of perspective that was 84 00:05:45.830 --> 00:05:50.000 necessary to really understand how the work would be perceived. 85 00:05:50.000 --> 00:05:54.350 And so as I started looking for more space and we were having conversations 86 00:05:54.350 --> 00:05:58.780 about the narrative of his work and how historically, you know, one of the 87 00:05:58.780 --> 00:06:02.000 things I love was just a lot of the work was hidden. 88 00:06:02.000 --> 00:06:09.030 It wasn't about being on show, so you would discover work either in cabinets or 89 00:06:09.030 --> 00:06:12.000 in joinery in existing spaces. 90 00:06:12.000 --> 00:06:17.480 And increasingly, the dialogue between the work and the physical environment 91 00:06:17.480 --> 00:06:23.110 that was in would make you question or explore the architecture, not only about 92 00:06:23.110 --> 00:06:28.000 the history of the spaces, implicit or implied histories. 93 00:06:28.000 --> 00:06:33.130 But in these images you see themes of ceramics in the ground or above, so you 94 00:06:33.130 --> 00:06:38.230 start to look above you, you explore and think about spaces beyond the room 95 00:06:38.230 --> 00:06:44.280 that you're in, or just this idea of buried things in the ground, the idea of 96 00:06:44.280 --> 00:06:45.000 cargo and histories 97 00:06:45.000 --> 00:06:51.990 where these fascinating ways of unfolding conversations about spaces that we 98 00:06:51.990 --> 00:06:53.000 design. 99 00:06:53.000 --> 00:06:57.120 And Edmonds was in this amazing situation where he was designing installations 100 00:06:57.120 --> 00:06:59.000 which would also be reinterpreted. 101 00:06:59.000 --> 00:07:04.690 So from this kind of theme or line of work in Catholic yards in Cambridge at 102 00:07:04.690 --> 00:07:10.480 the pavement level, almost like literally laying on the ground in a very 103 00:07:10.480 --> 00:07:14.000 vulnerable position would then be re exhibited in meetings. 104 00:07:14.000 --> 00:07:18.000 So we have been doing this for quite a few years. 105 00:07:18.000 --> 00:07:23.420 And I think it's been very, very early on in these images and I think it's 106 00:07:23.420 --> 00:07:28.000 really been a very early on in the world of the exhibition. 107 00:07:28.000 --> 00:07:32.840 And it's been a very early on in the exhibition, which is a very early on in 108 00:07:32.840 --> 00:07:37.000 the exhibition, which was a very early on in the exhibition. 109 00:07:37.000 --> 00:07:40.520 And it's a very early on in the exhibition, which was a very early on in the 110 00:07:40.520 --> 00:07:47.000 exhibition, which was a very early on in the exhibition. 111 00:07:47.000 --> 00:07:52.920 And it's a very early on in the exhibition, which was a very early on in the 112 00:07:52.920 --> 00:07:58.000 exhibition, which was a very early on in the exhibition. 113 00:07:58.000 --> 00:08:08.580 And it's a very early on in the exhibition, which was a very early on in the 114 00:08:08.580 --> 00:08:11.000 exhibition, which was a very early on in the exhibition. 115 00:08:11.000 --> 00:08:15.290 And it's a very early on in the exhibition, which was a very early on in the 116 00:08:15.290 --> 00:08:19.000 exhibition, which was a very early on in the exhibition. 117 00:08:19.000 --> 00:08:26.000 But five, opening to relate to different views within any particular setting. 118 00:08:26.000 --> 00:08:31.000 And within each of them, a different scene of porcelain was embedded. 119 00:08:31.000 --> 00:08:35.440 This was testing the installation in the four core for instance of Somerset 120 00:08:35.440 --> 00:08:39.000 House, with the idea of the clear story to take you up. 121 00:08:39.000 --> 00:08:43.030 So it was relatively high as an environment, and then a more compressed 122 00:08:43.030 --> 00:08:47.210 experience to take you in and reveal something which might be buried in the 123 00:08:47.210 --> 00:08:48.000 ground. 124 00:08:48.000 --> 00:08:52.760 And at Somerset House, for instance, there are these incredible bolts below the 125 00:08:52.760 --> 00:08:56.000 the pavement going down onto the river. 126 00:08:56.000 --> 00:09:00.460 And so these, this was a way of us just beginning the conversation about 127 00:09:00.460 --> 00:09:06.000 different environments that might be really enjoyable in the space itself, 128 00:09:06.000 --> 00:09:12.300 where Edmond found his current studio, which we worked on together with which 129 00:09:12.300 --> 00:09:17.000 in West Nourwood. Really un-precessing site. 130 00:09:17.000 --> 00:09:23.000 And anonymity, something perhaps is really quite good for an artist to work in. 131 00:09:23.000 --> 00:09:26.000 It's a private activity in many ways. 132 00:09:26.000 --> 00:09:33.860 And he found this old workshop, which had been a munitions factory in a very 133 00:09:33.860 --> 00:09:40.000 sort of small industrial business park next to a bus depot. 134 00:09:40.000 --> 00:09:45.000 The printers in the foreground and fairly anonymous uses, and you can see the 135 00:09:45.000 --> 00:09:49.420 sale sign at the back with a two story brick element has actually a large 136 00:09:49.420 --> 00:09:51.000 workshop beyond it. 137 00:09:51.000 --> 00:09:58.080 So this workshop had been used as a munitions factory, slightly some prospects, 138 00:09:58.080 --> 00:10:03.000 but had again incredible narratives and histories that were used in there. 139 00:10:03.000 --> 00:10:09.930 And the two old men who were now retiring had this workshop space, which was 140 00:10:09.930 --> 00:10:14.000 much bigger, 900 square meters. 141 00:10:14.000 --> 00:10:17.430 So it was a huge space compared to where Edmond was worked, but it worked 142 00:10:17.430 --> 00:10:23.000 before, but it gave the opportunity to explore how he could make and subdivide 143 00:10:23.000 --> 00:10:28.350 this space into something which could provide, I guess, a studio for making, 144 00:10:28.350 --> 00:10:31.000 but also something which could provide the opportunity to 145 00:10:31.000 --> 00:10:35.000 work in a very different scale. 146 00:10:35.000 --> 00:10:42.320 So we began looking at the projects with him and the drawings basically took on 147 00:10:42.320 --> 00:10:45.000 a narrative of two parts. 148 00:10:45.000 --> 00:10:50.510 There is a simple entrance, which you come into and from that entrance, it was 149 00:10:50.510 --> 00:10:57.000 going to be important to have a direct route through to the main gallery space, 150 00:10:57.000 --> 00:10:58.000 or studio space. 151 00:10:58.000 --> 00:11:02.980 But also have a view to a series of linked smaller spaces, which would 152 00:11:02.980 --> 00:11:08.940 particularly introduce the idea of writing and research, which was a foundation 153 00:11:08.940 --> 00:11:11.000 to all of Edmond's work. 154 00:11:11.000 --> 00:11:16.950 From the studio main studio space, there was then a series of cups and openings 155 00:11:16.950 --> 00:11:23.410 , which would reveal the journeys through to other smaller display spaces, but 156 00:11:23.410 --> 00:11:26.000 also the practical spaces. 157 00:11:26.000 --> 00:11:30.000 So throwing glazing and firing, firing work. 158 00:11:30.000 --> 00:11:39.850 And so the main double height space exists, and we inserted a wall towards the 159 00:11:39.850 --> 00:11:47.300 rear of the space, which would then separate off a next-line studio and glazing 160 00:11:47.300 --> 00:11:48.000 area, an archive space and separate kiln room. 161 00:11:48.000 --> 00:11:53.480 The way of working for us had been evolved through series of projects. We were 162 00:11:53.480 --> 00:11:57.000 also working with a jeweler called Alexman Rose. 163 00:11:57.000 --> 00:12:03.600 And this process of trying to work with an artist or maker about navigating how 164 00:12:03.600 --> 00:12:10.070 they could both provide an enjoyable workspace for a team of people to come 165 00:12:10.070 --> 00:12:15.000 together, but also areas of focus was an exercise which we found really 166 00:12:15.000 --> 00:12:17.000 interesting on this project, 167 00:12:17.000 --> 00:12:22.160 which is a micro project in comparison, but this took on a more public presence 168 00:12:22.160 --> 00:12:27.710 for a jeweler who was going to open on the one hand, sort of boutique to invite 169 00:12:27.710 --> 00:12:31.000 people in at ground floor to visit. 170 00:12:31.000 --> 00:12:35.190 It has a sort of threshold, almost a retail threshold, but above it was a c 171 00:12:35.190 --> 00:12:40.630 asket spaces, which we explored with him about how he could unfold the various 172 00:12:40.630 --> 00:12:46.000 processes that were necessary about making his work from inviting people in on 173 00:12:46.000 --> 00:12:46.000 a grid. 174 00:12:46.000 --> 00:12:51.800 So, we were also writing people in on a ground floor as a shop, studio to go 175 00:12:51.800 --> 00:12:56.020 and have conversations and explore ideas of what should be made or going to be 176 00:12:56.020 --> 00:13:02.220 commissioned workshop floor, leading up to a meeting room at the top where you 177 00:13:02.220 --> 00:13:07.000 could review the work in process and discuss things with your team and going up 178 00:13:07.000 --> 00:13:09.000 to a roof terrace on the top of the floor above. 179 00:13:09.000 --> 00:13:14.890 So, in some instances as well, another dimension of work which was actually 180 00:13:14.890 --> 00:13:21.510 engaging with the internet was becoming evident, so the process here of making, 181 00:13:21.510 --> 00:13:25.770 which was carried out offsite sometimes and then finished in the studio would 182 00:13:25.770 --> 00:13:32.000 also involve a dispatch area in the basement, which was another process, 183 00:13:32.000 --> 00:13:38.120 which was very important, but each of the rooms were then designed very much to 184 00:13:38.120 --> 00:13:43.820 individual activities and scale of making in terms of really optimizing the 185 00:13:43.820 --> 00:13:46.000 youth in a very small space. 186 00:13:46.000 --> 00:13:51.430 Edmond studio, the dialogue was obviously very different we had 900 square 187 00:13:51.430 --> 00:13:56.620 meters, and it was about establishing kind of how that space could provide both 188 00:13:56.620 --> 00:14:00.000 a space to almost simulate a gallery environment. 189 00:14:00.000 --> 00:14:05.020 And then it's breaks down to an area which could involve intimate conversation 190 00:14:05.020 --> 00:14:09.750 or a space for work for the team that might be organizing exhibitions and so 191 00:14:09.750 --> 00:14:11.000 forth within. 192 00:14:11.000 --> 00:14:15.330 So we worked very much with a kind of physical model a series of tables, which 193 00:14:15.330 --> 00:14:19.390 would become the kind of foreground to any activity they could be moved 194 00:14:19.390 --> 00:14:24.130 together separated that that will provide a threshold for the discussion, or 195 00:14:24.130 --> 00:14:28.000 the engagement with whoever was coming to the studio at the time. 196 00:14:28.000 --> 00:14:34.330 And simple sketches of how that space would be reconfigured to open up the, I 197 00:14:34.330 --> 00:14:41.020 guess, micro spaces within the large volume, where the office would exist for 198 00:14:41.020 --> 00:14:43.000 cataloging of work. 199 00:14:43.000 --> 00:14:47.640 And the thresholds that you begin to see through the sketches looking through 200 00:14:47.640 --> 00:14:52.000 to office on the right which has a little window onto a pocket courtyard. 201 00:14:52.000 --> 00:14:57.120 And then there's a line space which goes out for delivery so that this is where 202 00:14:57.120 --> 00:15:02.380 pieces of work can be delivered unpacked and so forth before coming into the 203 00:15:02.380 --> 00:15:03.000 studio. 204 00:15:03.000 --> 00:15:12.500 And similarly, the sketches which would come out of that process and the model 205 00:15:12.500 --> 00:15:16.560 would hear it's looking at the metanine space which we were going to try and 206 00:15:16.560 --> 00:15:16.900 build next to the glazing studio so that the individual people working with Ed 207 00:15:16.900 --> 00:15:20.000 mond would be both in the same volume, 208 00:15:20.000 --> 00:15:24.000 and their own space to focus and study as they're working. 209 00:15:24.000 --> 00:15:29.980 So there was a great kind of dialogue of design, which then introduced really 210 00:15:29.980 --> 00:15:35.430 practical considerations of how we would make this project both economically to 211 00:15:35.430 --> 00:15:38.000 build, but also economically to run. 212 00:15:38.000 --> 00:15:43.460 We couldn't afford to do major rebuilding so the existing structure was tested 213 00:15:43.460 --> 00:15:48.910 to see what capacity it had and there was very minor reinforcement for instance 214 00:15:48.910 --> 00:15:54.990 of the existing trust so that we could add the weight of new insulation to fill 215 00:15:54.990 --> 00:15:56.000 the roof and 216 00:15:56.000 --> 00:16:02.130 re-line the roof, and we inserted this new wall as a screen to separate and 217 00:16:02.130 --> 00:16:07.000 create a scale of the smaller studio spaces at the back. 218 00:16:07.000 --> 00:16:11.810 Whilst it was tempting to have obviously kind of an enormous space what was 219 00:16:11.810 --> 00:16:16.440 really interesting as obviously once you close it, close it down the space 220 00:16:16.440 --> 00:16:19.000 almost became bigger in its making. 221 00:16:19.000 --> 00:16:25.700 But at the same time as reducing those dimensions, we also looked at cutting 222 00:16:25.700 --> 00:16:33.000 out specific pieces of the structure so that we could open up visual and 223 00:16:33.000 --> 00:16:37.000 communication spaces between the writing studio above, 224 00:16:37.000 --> 00:16:43.000 which would then connect down to the main studio, and this is the entrance hall 225 00:16:43.000 --> 00:16:47.330 , which was really important about we retained existing staircase that just took 226 00:16:47.330 --> 00:16:48.000 out some of the structures. 227 00:16:48.000 --> 00:16:53.120 So that again, this could have volume could expand to open a connection between 228 00:16:53.120 --> 00:16:58.000 what will become the writing studio and the entrance into the studio itself. 229 00:16:58.000 --> 00:17:03.750 By the time we'd finished, you couldn't really see much that we'd done, which 230 00:17:03.750 --> 00:17:07.000 was part of the process of this project. 231 00:17:07.000 --> 00:17:11.890 The two windows on the first floor you'll see they have slightly opaque glass 232 00:17:11.890 --> 00:17:17.090 translucent glass to diffuse the light going in, but beyond that we kept the 233 00:17:17.090 --> 00:17:20.000 building as anonymous as possible. 234 00:17:20.000 --> 00:17:25.850 But on entering, you'll now see the existing brick wall of that main workshop 235 00:17:25.850 --> 00:17:30.000 space retained and modified on the right hand side. 236 00:17:30.000 --> 00:17:38.190 The main volume is now has a lining of white plaster, plasterboard wall to 237 00:17:38.190 --> 00:17:43.730 provide wall surfaces for display, but you'll see the sort of functionality as 238 00:17:43.730 --> 00:17:48.000 you come in the first table that there to invite people to sit down. 239 00:17:48.000 --> 00:17:53.100 But on the left, this was as soon as we move or Edmund moved into the studio, 240 00:17:53.100 --> 00:17:57.250 there were crates being delivered with the installation for quite a major piece 241 00:17:57.250 --> 00:18:02.000 called atmosphere going, which was going to be installed in Margate. 242 00:18:02.000 --> 00:18:07.380 And so this studio immediately became the kind of workshop and testing space 243 00:18:07.380 --> 00:18:12.500 for how these quite substantial vitreants would be suspended in space, 244 00:18:12.500 --> 00:18:18.160 ultimately, because this was a completely new dimension of work that was being 245 00:18:18.160 --> 00:18:23.300 made made the idea of vitreants almost floating in space as clouds on the 246 00:18:23.300 --> 00:18:27.000 horizon and experience in a very different way. 247 00:18:27.000 --> 00:18:33.350 So the studio, the flexibility of the studio became a workshop that it's both a 248 00:18:33.350 --> 00:18:36.000 display but also for testing. 249 00:18:36.000 --> 00:18:40.670 So the table again in the foreground is at the point of conversation and 250 00:18:40.670 --> 00:18:42.000 meeting places. 251 00:18:42.000 --> 00:18:46.880 And you'll see here how again very similar to the first studio things that we 252 00:18:46.880 --> 00:18:51.690 learned about a fragment of brick wall conceals the kitchen behind it's both 253 00:18:51.690 --> 00:18:56.000 part of the studio, but separate, and you'll see the direct entrance in so that 254 00:18:56.000 --> 00:18:56.000 again, 255 00:18:56.000 --> 00:19:01.000 this direct view through to this amazing space that has worked. 256 00:19:01.000 --> 00:19:06.790 And it is opened up to take distance views from from from pieces of work and 257 00:19:06.790 --> 00:19:13.130 test a scale of installation, which clearly the sort of intimacy of making 258 00:19:13.130 --> 00:19:19.070 those pieces is only part of the process, the composition is such an important 259 00:19:19.070 --> 00:19:23.000 part of the work that the space needs to be able to kind of hold 260 00:19:23.000 --> 00:19:27.880 hold it hold itself together so that over time, this can be tested and recon 261 00:19:27.880 --> 00:19:32.000 figured, it can be photographed as a topography studio. 262 00:19:32.000 --> 00:19:38.400 And at the time we worked with one of Edmunds gallery to make sure that the 263 00:19:38.400 --> 00:19:43.750 flexibility of the studio would allow gallery lighting conditions as well to 264 00:19:43.750 --> 00:19:45.000 fill the room. 265 00:19:45.000 --> 00:19:50.620 So the polycarbonate light lining to the roof light which we ran all the way 266 00:19:50.620 --> 00:19:56.160 through kept the same diffuse light with we've really enjoyed that idea of 267 00:19:56.160 --> 00:20:02.280 natural daylight coming in to model the surface of the artwork but equally it 268 00:20:02.280 --> 00:20:05.000 needs to mirror gallery conditions as well. 269 00:20:05.000 --> 00:20:09.870 So with the simplicity of one space, this view is showing that these kind of 270 00:20:09.870 --> 00:20:14.980 connected spaces which follow the journey of how the space comes together as a 271 00:20:14.980 --> 00:20:23.860 whole on the right you can see the light just falling down into a kind of void 272 00:20:23.860 --> 00:20:26.000 which would lead you to the writing studio, but 273 00:20:26.000 --> 00:20:31.810 ground for level you follow behind the screen it unfolds journey into the gl 274 00:20:31.810 --> 00:20:33.000 azing area. 275 00:20:33.000 --> 00:20:38.970 Here where pieces of work we made in the cabinetry is is built quite simply and 276 00:20:38.970 --> 00:20:44.890 robustly to accommodate all of the various materials which are used for that 277 00:20:44.890 --> 00:20:46.000 process. 278 00:20:46.000 --> 00:20:50.720 And a staircase unfold that journey up to a very simple mezzanine where Edmund 279 00:20:50.720 --> 00:20:57.780 can make pot, both you know on his own but still being connected and spatially 280 00:20:57.780 --> 00:21:01.000 to the environment of the full studio. 281 00:21:01.000 --> 00:21:07.010 Each of the thresholds that are made where the trees or cabinets are made are 282 00:21:07.010 --> 00:21:12.740 used in the studio for infinite tests of glazing which will inform later pieces 283 00:21:12.740 --> 00:21:19.000 of work so it almost feels like a place of display but actually this is very 284 00:21:19.000 --> 00:21:22.000 transitional in process. 285 00:21:22.000 --> 00:21:27.500 And here there's a much more generous area available for the firing room where 286 00:21:27.500 --> 00:21:33.000 the kilns are stored this obviously has better ventilation still has natural 287 00:21:33.000 --> 00:21:39.000 daylight over the roof lights this is in a single story part of the workshop. 288 00:21:39.000 --> 00:21:45.140 And you'll see glazing sorry security bars actually and these roof lights as 289 00:21:45.140 --> 00:21:51.390 well it's next to a bus station and so security was a big concern here to make 290 00:21:51.390 --> 00:21:54.000 sure that space was safe and robust. 291 00:21:54.000 --> 00:21:57.770 You can see just on the top of this section here, Kiln rim, which is a single 292 00:21:57.770 --> 00:22:03.780 story part of the project and then this sort of cups that were made through 293 00:22:03.780 --> 00:22:07.000 this office wing adjacent to the studio. 294 00:22:07.000 --> 00:22:11.910 Number two here is the void, which you can access from the main studio and 295 00:22:11.910 --> 00:22:15.000 provides a link up to the writing studio. 296 00:22:15.000 --> 00:22:19.860 And when you come in the front door, again we've opened up the staircase to 297 00:22:19.860 --> 00:22:24.800 provide the landing, which opens a relationship to the library, the library 298 00:22:24.800 --> 00:22:31.380 faces both the hall and the library faces, the writing studio so that these two 299 00:22:31.380 --> 00:22:34.000 spaces can like vowels to the work. 300 00:22:34.000 --> 00:22:39.000 The void from the gallery is both kind of a discrete and very calm. 301 00:22:39.000 --> 00:22:44.820 It's based to test how work could be perceived with top lights again the gl 302 00:22:44.820 --> 00:22:50.630 azing to the windows has been diffused here to create a very calm even daylight 303 00:22:50.630 --> 00:22:56.610 and it changes radically depending on the scale of pieces which can be 304 00:22:56.610 --> 00:22:58.000 exhibited in there. 305 00:22:58.000 --> 00:23:03.370 And the similar kind of environment I guess is introduced that the entrance, 306 00:23:03.370 --> 00:23:08.600 this idea of a threshold space to greet people coming into the studio offers a 307 00:23:08.600 --> 00:23:14.000 distant view into the studio straight ahead, light coming from above encourages 308 00:23:14.000 --> 00:23:14.000 you, 309 00:23:14.000 --> 00:23:19.060 and the openness of the staircase encourages you to engage with the writing and 310 00:23:19.060 --> 00:23:24.000 research as part of the work, but you might be able to see also in the floor, 311 00:23:24.000 --> 00:23:29.510 between opened up into the floor, which was working with the dialogue of again 312 00:23:29.510 --> 00:23:35.020 pieces of essence work that he was developing in Cambridge at the time was a 313 00:23:35.020 --> 00:23:36.000 project called local history, 314 00:23:36.000 --> 00:23:41.080 which has these barriers between in the pavement, which are really wonderful. 315 00:23:41.080 --> 00:23:46.000 And so it gave the opportunity to reveal those dialogues in the space. 316 00:23:46.000 --> 00:23:52.750 And just like at the first studio in Tol Hill, here where you can then come up 317 00:23:52.750 --> 00:23:57.160 into the writing studio, beyond you can see the kind of void which drops down 318 00:23:57.160 --> 00:23:58.000 into the studio. 319 00:23:58.000 --> 00:24:04.400 The glazing is diffused so that it creates the kind of internal atmosphere, 320 00:24:04.400 --> 00:24:11.000 very much kind of focused on the kind of world, the work is being produced in, 321 00:24:11.000 --> 00:24:16.000 but really resonates with changing lighting conditions which change the 322 00:24:16.000 --> 00:24:18.000 character of that space throughout the day. 323 00:24:18.000 --> 00:24:24.300 And as you move around the library unfolds both for the practical dimension to 324 00:24:24.300 --> 00:24:29.730 that space and is critical and has become more critical to the importance of 325 00:24:29.730 --> 00:24:35.000 Edmunds written work in processes is followed since. 326 00:24:35.000 --> 00:24:39.740 I just wanted to end with one of the things I think has been really important 327 00:24:39.740 --> 00:24:45.020 about the project is the generosity with how the space is used. So as well as 328 00:24:45.020 --> 00:24:48.000 its functional and practical uses. 329 00:24:48.000 --> 00:24:52.510 This is one of many examples of when Edmund shares introduced with other 330 00:24:52.510 --> 00:24:59.570 artists and makers. This was a joint exhibition with Bromley Suarez Smith, who 331 00:24:59.570 --> 00:25:04.000 makes amazing jewelry with medieval artists. 332 00:25:04.000 --> 00:25:09.760 And so you see in dialogue, the use of the building with new audiences coming 333 00:25:09.760 --> 00:25:16.000 in, opening up different conversations between different makers and artists, 334 00:25:16.000 --> 00:25:22.220 and bringing the sort of focus of the services of the studio to the foreground, 335 00:25:22.220 --> 00:25:25.000 the idea of gold leaf and building is something which is very 336 00:25:25.000 --> 00:25:31.850 intrinsic to the work of porcelain, porcelain, I think Edmund talks a lot about 337 00:25:31.850 --> 00:25:38.000 its references to being called I think white gold, because it's no pressure. 338 00:25:38.000 --> 00:25:43.140 And so that dialogue really, I think is a fantastic generosity of bringing new 339 00:25:43.140 --> 00:25:47.510 audiences into the space in a way that the work itself does when it's taken out 340 00:25:47.510 --> 00:25:52.190 of the studio and open dialogues with existing and new buildings that people 341 00:25:52.190 --> 00:25:54.000 perhaps wouldn't otherwise go to. 342 00:25:54.000 --> 00:26:00.630 Bromley also amazing book binding artist and so the studio took on another 343 00:26:00.630 --> 00:26:05.000 dimension with her work displayed upstairs. 344 00:26:05.000 --> 00:26:11.910 And ever so important now as well is the social valley which is offered through 345 00:26:11.910 --> 00:26:18.000 the studio here it is being used as a workshop space for local school children. 346 00:26:18.000 --> 00:26:26.100 And this reminds us I guess of the, the, the absolute delight that the studio 347 00:26:26.100 --> 00:26:33.570 is a making space it's a tactile space on the one hand, some of the images 348 00:26:33.570 --> 00:26:36.020 appear rarefied and are in the world of galleries but at the same time this is 349 00:26:36.020 --> 00:26:40.000 a tactile and amazing craft which underscores 350 00:26:40.000 --> 00:26:47.090 everything and is incredibly accessible to people and this space is a really 351 00:26:47.090 --> 00:26:54.510 comfortable workspace so the, the, the dog can come to work and the space adapt 352 00:26:54.510 --> 00:27:01.660 s to the very different uses and functions that Edmunds work now needs to 353 00:27:01.660 --> 00:27:04.000 address. 354 00:27:04.000 --> 00:27:14.000 Thanks very much.