‘Ruins mark the passage of time or empire; they are remnants of the past or memento mori. They evoke decay, impermanence, and memory, humanity’s achievements as well as its hubris, and what is now gone.’ ——Whitehouse, T. (2018) How Ruins Acquire Aesthetic Value: Modern Ruins, Ruin Porn, and the Ruin Tradition.
The publications of the “ruins” of the Ceramic Staircase and the Orozco Garden act as a physical memento mori. They reflect the atmosphere of these two locations, capturing the past, memory, and impermanence of the objects within the two spaces.
The ‘ruins’ of the Ceramic Staircase are the visible cracks. These fissures are located, in order, of the decorative panels, the mosaic floor, the Henry Cole Memorial, the wall and lastly, the ceramic ornaments.
The colour of the paper with cut-out shapes represents the texture of where the ruins have taken place. The structure of the front and back cover is inspired by the arch which looms over the entrance of the space.
The folding is adapted from the accordion binding technique and is inspired by the sharp angles of the steps.
The ‘ruins’ in the Orozco Gardens can be interpreted as the fallen flowers and plants, as well as the worn out bricks. These entities are the part of the ephemerality of the ruins, shifting over the course of seasons and years.
The cover is a close-up of the ‘ruins’ on the bricks in the garden. The size of the publication is designed in accordance with the dimensions of the space.
The transparency of paper for the booklet aims to convey the delicateness of the fallen flora and fauna. It acts as an implement to express the impermanence of time.