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A notable cast from the series which culminated in the Final Concrete Cast. This cube uses the skeleton frame as originally proposed, but when struck revealed a quite beautiful concrete finish with inserted clear acrylic pattern. The skeleton was retained rather than removed and the whole cube was worked to give the concrete a more rough texture to contrast with the smooth acrylic, which was also worked to give a frosted finish.

The culmination of a series of concrete casts as discussed in Concrete Cube, Concrete Construction and Concrete Shuttering is shown above. A negative version of previously proposed versions, the contrast between where the aggregate has been exposed and the smooth finish from the shuttering is remarkable. The wallpaper pattern taken from The Grapes public house has been used to protect part of the cube whilst the exposed concrete has been worked back to reveal, in this case, recycled green glass aggregate.

How do you embody the essence of a house? Why cast the thing in concrete of course!

Many people will already be aware of Rachel Whiteread’s Turner prize winning sculpture, but for me the most interesting thing is this freeze frame recording of an archetypal domestic situation’s ability to express internal atmosphere by looking at it externally. It also shows that a singular structure can sit happily on the verge of an open space.

Interior photograph of concrete cube shuttering, detailed in Concrete Construction.

These are construction drawings for the shuttering of the newly proposed concrete cube, last described here, showing how a skeleton frame is inserted into the main plywood cube shuttering to create the recessed pattern. The new version wraps the whole wallpaper pattern around the cube.

Much like Skeleton and Not just a Balustrade, the investigation of the wallpaper pattern from The Grapes Public House is applied to a cubic form. The proposed 150mm concrete cube, with the pattern in relief, acts as much as a tectonic study as that of pattern.