Figure 1
Rear elevation of Prospect Cottage, Dungeness [Courtesy of the author].
Figure 2
Orbital Relationship between topics [Courtesy of the author].
Figure 3
Michael Webb, “Early Perspective of regatta course,” 1987. Drawing/Oil Painting in Temple Island by Michael Webb (London: Architectural Association, 1987).
Figure 4
Michael Webb, “Perspectival dot matrix,” 1987. Drawing in Temple Island by Michael Webb (London: Architectural Association, 1987).
Figure 5
Michael Webb, “Perspective of regatta course,” 1987. Drawing/Oil Painting in Temple Island by Michael Webb (London: Architectural Association, 1987).
Figure 6
Michael Webb, “Early Perspective of the regatta course viewed by an overhead observer,” 1987. Drawing/Oil Painting in Temple Island by Michael Webb (London: Architectural Association, 1987).
Figure 7
Skyspace, Yorkshire Sculpture Park 13:15 28/12/17 [Courtesy of the author].
Figure 8
Axonometric Sections, Southeast Elevation, Plan and Roof Plan of Skyspace at the Yorkshire Sculpture Park [Courtesy of the author].
Figure 9
Skyspace, Yorkshire Sculpture Park 13:15 28/12/17 [Courtesy of the author].
Figure 10
Internal perspective of solar incidence on the Dungeness site through an aperture at various times of the year/day [Courtesy of the author].
Figure 11
Axonometric section of light cast by solar incidence upon the site [Courtesy of the author].
Figure 12
Diagram to show how James Turrell and Louis Kahn ‘pull’ the scene into their spaces: ‘thinning’ of the frame to the sky creates the illusion of reducing the distance between ‘here’ and ‘there’ [Courtesy of the author].
Figure 13
Skyspace, Yorkshire Sculpture Park, photograph of the weathered floor [Courtesy of the author].
Figure 14
Cyanotype/blueprint exposure process: such sunlight was measured by the author at the Yorkshire Sculpture Park on a winter’s day, with the sun very low but powerful [Courtesy of the author].
Figure 15
Derek Jarman, ‘Notes on Blue’ (1993), ink/paint on paper, in sketchbook/diary, Tate Britain, London.
Figure 16
Yves Klein, ‘IKB Panel’, pigment/resin on panel, Palazzo Fortuny, Venice; and Derek Jarman, Blue (1993), film, Tate Britain, London.
Figure 17
Derek Jarman, The Garden (1990), film, Basilisk Communications.
Figure 18
Derek Jarman, The Garden (1990), film, Basilisk Communications.
Figure 19
Derek Jarman, The Garden (1990), film, Basilisk Communications.
Figure 20
Derek Jarman, The Garden (1990), film, Basilisk Communications.
Figure 21
1:20,000 general plan of Dungeness [Courtesy of the author, generated by using vector map/geospatial data from the UK Ordnance Survey and EDINA Digimap Ordnance Survey Service].
Figure 22
1:5,000 plan of Prospect Cottage and its garden in context [Courtesy of the author, generated by using vector map/geospatial data from the UK Ordnance Survey and EDINA Digimap Ordnance Survey Service].
Figure 23
1:150 plan and elevations of Prospect Cottage [Courtesy of the author, generated using 3D-model data from Helen Allsopp, HAllsopp_ ProspectHouse_Model.3dm].
Figure 24
1:300 plan of Prospect Cottage and garden, with the filled circles relating to standing stones/driftwood and other vertical elements on site [Courtesy of the author, generated using 3D-model data from Helen Allsopp, HAllsopp_ ProspectHouse_Model.3dm].
Figure 25
Standing Stone Circle at Prospect Cottage [Courtesy of the author].
Figure 26
Lunar/Tidal Relationships [Courtesy of the author].
Figure 27
Derek Jarman, Journey to Avebury (1971), film.
Figure 28
Raked Shingle Circle with telegraph poles in distance [Courtesy of the author]; Derek Jarman, ‘Avebury Series No.4’ (1973), oil on canvas, Northampton Museums & Art Gallery, https://artuk.org/discover/artworks/avebury-series-no-4-49832].
Figure 29
Rear Garden of Prospect Cottage [Courtesy of the author].
Figure 30
Dungeness Power Station from the beachfront [Courtesy of the author].
Figure 31
Half-life decay curve of Carbon-14 and Iodine-129 [Courtesy of the author].
Figure 32
Derek Jarman, The Garden (1990), film, Basilisk Communications.
Figure 33
Derek Jarman, The Garden (1990), film, Basilisk Communications.
Figure 34
Derek Jarman, The Garden (1990), film, Basilisk Communications.
Figure 35
Dungeness lighthouse as viewed from the beachfront [Courtesy of the author].
Figure 36
Point Cloud: view over rear garden to Prospect Cottage, 25 seconds, distant clouds, bright, dry, 11°C [Courtesy of the author].
Figure 37
Point Cloud plan [Courtesy of the author].
Figure 38
Point Cloud: view from rear garden, 20 seconds, heavy, fast moving clouds, dull, dry, 10°C [Courtesy of the author].
Figure 39
Axonometric of Delaunay mesh with base plane on ground plane: view over rear garden towards Prospect Cottage, 25 seconds, distant clouds, bright, dry, 11°C; Axonometric of Delaunay mesh with base plane perpendicular to viewing plane: view over rear garden towards cottage, 25 seconds, distant clouds, bright, dry, 11°C [Courtesy of the author].
Figure 40
Photograph of 3D-printed perceptual cartography model. The details within the landscape facing the viewer are sharp, whereas the ‘white shadows’ in the perceived view have lost resolution and become softer [Courtesy of the author].
Figure 41
Photograph of 3D-printed perceptual cartography model. The clouds and atmospheric disturbances are articulated into invasive spatial forms which affect the view of Prospect Cottage [Courtesy of the author].
Figure 42
Photograph of 3D-printed perceptual cartography models as placed on a lightbox show the changing density of solidified weather [Courtesy of the author].
Figure 43
Photograph of 3D-printed perceptual cartography model. When atmospheric conditions are more transient, their effect is greater, in some cases connecting to and covering the architecture [Courtesy of the author].
Figure 44
Skyspace, Yorkshire Sculpture Park/ IKB/ Blue perceptual artefact drawing 003 [Courtesy of the author].
Figure 45
Photograph of 3D-printed perceptual cartography model showing Prospect Cottage facing towards Dungeness Power Station emerging from a wave of cloud [Courtesy of the author].