Scratch/Sgraffito

The Vestibule: Royal Hospital Chelsea

Interior of North Block.

The Vestibule.

The vestibule or entrance hall between the chapel and the great hall is octagonal in plan, the stone floor between the north and south doors being at ground level. The entrances to the chapel and the hall in the east and west walls respectively are approached by a flight of ten stone steps that fill the whole space between the canted sides. An entablature of the Doric order surrounds the octagon at a considerable height, supported by pilasters at the angles, each having two vertical faces parallel with the walls. Between the triglyphs of the frieze are carvings representing military emblems alternating with I.R. surmounted by a crown and surrounded by foliage. The ceiling is an eight-sided dome with its centre open to the cupola above, and its curved angles are marked by bands formed of a series of recessed panels in the form of ribs. The vestibule is lighted by a large south window over the doorway in addition to the upper lantern. The oak doors to the chapel and hall are of two leaves, each of five panels, fielded and moulded. The doorways have wide moulded architraves and a plain pedimental doorhead carried on carved consoles. In the canted sides of the octagon are smaller doors of two panels set within a square plastered framework, and leading to stairs or cupboards in the angles. The walls are hung with flags (described on pp. 32–33), and over the hall door is a fine achievement of the royal (Stuart) arms, brought from the sister hospital of Kilmainham. A slight iron handrail leads up to the steps to the doors, and on either side are modern busts on pedestals of oak. Over the smaller doorways are fixed four iron cressets.

www.british-history.ac.uk

Royal Hospital Chelsea

Martin Westwood at the Stanley Picker Gallery

Wapping: Stairs & Tone

White by Kenya Hara

"What is Color?

Is white a color? it is like a color, yet at the same time we can also conceive of it as a noncolor. What then, we must ask, is color in the first place"


"The Meaning of Emptiness


In some cases, white denotes 'emptiness.' White as noncolor transforms into a symbol of nonbeing. Yet emptiness doesn't mean "nothingness" or "energy-less"; rather, in many cases, it indicates a condition, or kizen, which will likely be filled with content in the future. On the basis of this assumption, the application of white is able to create a forceful energy for communication."

Hasegawa Tohaku's "Pine Trees"

"In this work, we can find highly diverse yet always effective applications of white and emptiness."

Rear Window

The Architects of Fear

Wapping: Markings and Scars

Things That Caught My Eye 2

Smithsons, House of Tomorrow

Zumthor.

Glass Pavillion

Blowup 1966

Paul Noble

Rear Window 1954

Things That Caught My Eye 1

Rachel Whiteread, House

Rachel Whiteread, Grove Road House Study

Battersea Power Station, London

Inspiration Week 1: Gerhard Richter

Wapping: Scratch