The wall is fundamental to how I work. It is at the centre of my design process. I am referring to the office wall, the pin-up surface where all sketches, models shots, diagrams, images are hung and left on display as the manifestation of the natural stratification of the working process.
The wall is a live surface. Working with the wall enables you to enter into a dialectical relation with the work and avoid seeing the project as a singular moment but rather as a constantly evolving piece, allowing notes, ideas, and other fragments to be arranged and rearranged in the same manner as an editing suite.
It is impossible to approach the wall alone; it is a design tool which induces debate and compared to working on a table, standing in front of the wall (usually with a colleague) is uncomfortable, its time span being limited to between 5-15 minutes of focused exchange. It allows me to extrapolate dormant ideas, to make associations with unexpected neighbors, and importantly prevents me from interpreting the work in isolation and become besotted with a singular static idea.
It becomes a form of architectural nourishment, an intricate puzzle to decipher and order your thoughts forcing correlations to be set up and prevents the design process from becoming a sterile and expected chronological process.
The wall has immediacy, an effective vitality that singular architectural representations: plans, sections, models, do not posses. It feeds my intuition and importantly it allows ideas to be distilled physically in front of you rather than robotically by a monitor.