All, I did not specify the task as Tea already did. These are my notes from the last tutorial.
Paula
note the playfulness of your first collage. Then what is the sirloin of the london wall? which part will help/enhance your dining experiece? If the part is incomplete then what can help you doing so? Your steak seems to need a decent way/time/efforts of cooking, which in turn gives you a sense of dignity. Do you really need a mask or something else like magnifying lenses telling the best quality sirloin or timing? Or a flat surface, a grill...? Or a clock?
Demetris
complete your drawing, a hand swirled by an octopus desparately climbing the wall. imagine the moment of eating it alive, what activity/which part of the wall/what kind of prosthetics would you help tolerate the challenges to reach the most tasteful moment?
Selam
your simple prosthetics, which is a good starting point, needs to be more subtle, articulated and further developed to respond to the cooking/eating process. Think about your movement under/within it. the scale of each movement will dictate the radius of different circles as well as the folding/unfolding process of your frame.
Dan
good to see your poetic drawings after some quiet momemts. keep that poetic quality as the identity of you and your drawings whether they are technical or conceptual.
Cheese- curing process vs bricks extracted and replaced by pieces of cheese, varying micro-climates of the wall with different heights, your actions extracting, inserting, extracting, ...all will change the wall to something edible!
Asma
Sweet-bitterly, pains-compensation...a nice pair that can go through your sense (of the food), your actions (to the food and the wall). your prosthetics to overcome the bitterliness, pains to achieve the sweetness, have the compensation... softening the edge, making the wall flexible, an injecting machine.. A section drawing is a key to show when you reach the wall with the machine, when the fluid/chemical flows through the wall section and the wall is becoming flexible.
Inga
A good progress in the sketches. Be more poetic/interpretative/architectural in inventing your prosthetics. The prosthetics need to be designed to cut/peel your watermellon to the most ideal/tasteful conditions for you. Also from the interaction between the drips of WM and the mortar/bricks, the wall will evolve into what you need to define. the action you want to achieve- a boom or slow erosion? Research- the openings, the chemical process that the drips cause to the wall.
Vipin
Complete the drawings across different scales. The impacts to the London wall surface from your jumping need to be drawn too as well as the impacts onto your body of the prosthetics. A very good progress.
Sam
Love to see your choreography of cutting the lasania through the wall. Your prosthetics too. You will get some differing feelings according to the materials you cut. Your wall will be distorted accordingly.
Nick
Remembering- 3seconds drawing? Can you draw what you would see if you were a lobster?
Distance, segements, joints, shapes, size...will be determined by the drawings.
Chris
Quite hard to follow your mechanism. Are you against ageing of your body by running (an exercise), which ironically accelerate ageing/drying of raisins, which again controls weathering of the wall into a texture? Drying raisins- high temperature of berries/air and high air flow movement critical. Research DOV raisins as shown in the image attached.
Tae
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