![]() In entering the looking-glass worlds of television and home computers, we are in the end left in the position of Kinglake’s old ‘English soldiery’. On the Web, where, as everyone knows, the terrorist temptation is constant and where depredations of hackers are committed with impunity in a strange state of legal indeterminacy, the difference between (true) information and (false) deception fades a little more each day. p.76Īs Negroponte has rightly remarked, with the ‘liberation of information’ on the Web, what is most lacking is meaning or, in other words, a context into which Internet users could put the facts and hence distinguish truth from falsehood. ‘ That which precedes the event is not necessarily its cause,’ claims the wisdom of the ancients. Paul Virilio Strategy of Deception Verso 2007 p.48 Deliberate manipulation and unintentional accidents have become indistinguishable. The globalitarian state, built out of economic-strategic alliances, is no longer old ‘Anastasia’ with her scissors: it is Babel. The truth of the facts is censured by over-information, as we have seen from the press and television discussing the Balkans. Disinformation is achieved by flooding TV viewers with information, with apparently contradictory data. The internal skin has been developed through a technique of GRG (glass reinforced gypsum) that enables the exterior profile to be directly echoed within, whilst at the same time creating a useful servicing and insulation cavity.įrom a very early stage, the design team of CRAB studio (architects), AKT II (structural engineers), steel shell fabricator CIG and main contractor Morgan Sindall all collaborated very closely and discussed a sequenced operation on a very small site.Significantly, in the era of the ‘information revolution’, the same process is now affecting disinformation : whereas in the past it was lack of information and censorship which characterized the denial of democracy by the totalitarian state, the opposite is now the case. The external skin is a steel-sheet monocoque construction of 17 steel panels - prefabricated in the factory, transported to site and bolted as a kit of parts and then welded to form a smooth, waterproof enclosure. Small internal zones – the toilets, service room and drawing store room are provided on the southern flank of the Studio room but are encompassed by the major sculptural form. This single entity unfolds towards a small ‘porte clochere’ that protects the actual entry door : and inspires a formally related wing for the emergency exit. Such uniformity serves to concentrate the eye upon the form and undulations of both exterior and interior. The interior is uniformly white – and thus acts as a foil to the drawing activity. The outside of the building is a totality - uniformly painted blue and serves as a ‘marker’ element for the north end of the AUB Campus. On the east side there is a further natural light source in the form of a low window located under a long bench that emanates a mysterious glow and finally, a gradated wash of natural light passes through the glass entry door and along the curved wall beyond. Thus it has a 30 square metre oval north-light window as main illumination, with a ‘booster’ light for the rear of the room from a clerestory window of 10 square metres. ![]() Taking the form of a large room of 140 square metres. The Studio celebrates – and designed around - the phenomenon of natural light. These range from painting, sculpture and Illustration, through to architecture, costume, drama, and model-making with the result becoming the first such dedicated Drawing Studio as a stand-alone structure to be built in a British art college for more than 100 years. Cook’s office CRAB (the Cook-Robotham Architecture Bureau) with Jenna Al-Ali as Project Architect have then developed an instrument that is to be used by the students of all of its 17 departments. In 2014 Bartholomew invited Cook to design this building, which is dedicated to that pursuit. A belief in the power of Drawing and its central role in artistic creativity is vociferously shared by Stuart Bartholomew, the Vice Chancellor and Head of Arts University Bournemouth and its architect alumnus, Sir Peter Cook.
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