Exercise 1.1: Pavilion Research

BASIC BRIEF:

To design a pavilion with a specific function for a defined occupant, located in a specific
context.

LIMITATIONS:

1. The pavilion should be no bigger than 9 square metres in footprint and no more than 6
   metres tall but can be any shape or form (see image). Therefore, it could be either 3mx3m
   or 1mx9m or 2mx4.5m in plan. It could be 2m wide at one end and only 1m side at the
   other, it could be circular, as long as it fits within the 9m2 limitations.
2. Your pavilion must be located somewhere within your own village, town or city (the context).

Contemporary Examples of Pavilions

Referencing

Image 1 – Contemporary Pavilion – https://www.dezeen.com/2021/11/26/odonnellbrown-architects-rainbow-pavilion-scotland/ – Accessed 02.12.2021

Image 2,3 and 4 – Contemporary Pavilion – https://www.trendir.com/contemporary-pavilions/ – Accessed 04.12.2021

Images via collage – Via Instagram; @Archi.voice.greens – Singapore, @Junlee_design Cosine -Curve Pavilion Rhino Grasshopper Tutorial, @Andrew2791 – Irvine Central Hospital

Exercise 1.2: Site Selection & Documentation

The places mentioned above are popular locations where people tend to congregate due to the river being so close, a lot of people take walks along the river. The river in my area is a social meeting point for all. Its a community hub full of cafes, restaurants and history. People seem to engage in exercise here too via the various walks and paths. Its a positive area. Why do we enjoy being near water? Being around water certainly offers a sense of calmness and helps me relax by giving my brain and senses a rest from overstimulation. A lot of studies show it makes us happier!

I therefore concluded my location would be overlooking water, specifically the River Medway as this is such a huge focal point of my town.

By chance my Auntie recently sold her property and purchased a new build (currently being built) in the Historical Dockyard area, which has connections with my first Assignment (Slip building No. 3).

She also mentioned a platform which hangs over the dock circled above that is proposed to be built opposite her new home, and this instantly stood out to me, the platform itself is overlooking the water and offers a congregative and open space, perfect for my pavilion site! On viewing the plans of the platform, I couldn’t help but notice how bare it was. Prior to viewing the plans I visualised a pavilion being included in the drawings however, to my surprise just a few trees as shown below…..

Exercise 1.3: Site Analysis: Personal Response

Although I cannot physically enter the platform for my location of my pavilion at present (due to this being in the process of being finished and currently a building site) it is easy to visualise the end design as I have managed to get hold of the plans for the finished article. This has been extremely useful in helping me understand my design.

The lack of greenery surprised me at first, however after further reflection I can see the focus of the design here is towards the water itself. I like the element of options of entrances and exits, are you brave enough to take the steps situated over the water or would you prefer the safer windy route via the first area of the platform.

There is a clear intentional rhythm of pathway instructed here by the design of this platform using pathways, trees, entrances and exits, which will direct the visitor directly to my proposed pavilion – at the end of the journey on the viewing platform, overlooking the quayside, where the dark blue line ends above.

The structure consists of Brick, Steel and concrete.

The platform impales the new residential development (via a Birdseye view) but has plenty of space between the buildings and is not solely for the purpose of the new home owners, it is open to the public and has several entrances, welcoming all who are in the vicinity.

Views from the proposed platform are above. Including adjacent tress as you exit the platform. You can clearly see the the vernacular style in the zigzag roofs in the first image, this seems to be mirrored in the ripples of the water.

The light here is incredible even on a cloudy day as shown above, the vastness of the space and the reflection of the water emphasises the light like a mirror and having the platform being situated out on the water with no shelter or shadow from adjacent buildings/objects etc gives this space openness and huge amounts of light and brightness.

My journey leads me directly to the platform, clearly guided by paths and barriers.

The calmness of the water is detoxifying and mesmerising and definitely the main focus here for me as I am instantly drawn to it, I actually cant wait to get onto the platform to explore the water close up whilst standing over it, its inviting me in. The pathway aims directly to the platform. Is the water the main focus because there are clear pathways leading you alongside it, is it because there are barriers in front of it, or is it because it is a Quay where movement in the water is made by life as opposed to tidal or river flow?

In the image above you can see the ripples of a recent passing boat which resembles the vernacular style of housing throughout the area of the Zigzag Tudor rooftops.

It is so calm and peaceful here. The water is deafeningly quite because of the calmness which makes room for the noises of nature and the breeze, you can hear the gentle tinkle of boats moored up in the far distance chiming in the wind. Pure relaxation! However a power boat speeds past and breaks the silence leaving me excited and overall happy, grateful to be in the space…

Other visitors occupying the space, similar to me, stop occasionally to take a moment to focus on the water. Dog walkers, walkers, cyclists, coffee drinkers, water sport enthusiasts the list goes on, this is a space for all to enjoy and all seem calm, relaxed, leisurely, reflective and overall I get a sense of contentness.

There is a high footfall here with a lot of local families with children and also non-locals visit this area just to walk around near the water and enjoy the local amenities, myself included. Although this is local to me, I can only get here via car or bus and we do so at least once a week to enjoy this area.

At the time of visiting, the space did feel cold, its open and open to the elements (wind and rain), making way for breeze but also filling the space with light which does add warmth. The steel barriers along the front of the quay make it chilly, but are strong and safe giving a sense of security. The mixed flooring of old cobbles verses new brick reminds us of the locations history triggering respect for the space and understanding due to the locations naval, war and industrial background.

Sun light in this space makes it feel very magical, the glisten of the sunlight from the calm water is hypnotising. Cloud here and overcast still give tremendous light due to the vastness of the quay and being able to see the opposite side of the quay adds to the brightness. I feel safe here, I trust this space, even in rain and wind.

Exercise 1.4: Site Analysis: Physical & Historical Context

Reflection – research methods

I tried to not go into too much depth and detail, and kept information bullet pointed as I think I find this easier to digest when gathering information and also reading it back for the purpose of design. I feel this approach would be easier on presentation to all involved going forward – builders, designers, architects working on such projects and that’s what I tried to have in mind in order to try and set the scene whilst fundamentally trying to create and design a meaningful, respectful pavilion for the public to enjoy.

References:

Weather info for Chatham, UK – https://www.worldweatheronline.com/chatham-weather-averages/kent/gb.aspx – accessed 09/12/2021

News and image on developers plan to demolish old building – https://www.theconstructionindex.co.uk/the-digger-blog/view/goodys-high-reach-clears-the-way-for-medway-flats – Accessed 09/12/2021

Colonial Wharf History – News Article dated 09 Jan 2015 by Chris Hunter – Kent online – https://www.kentonline.co.uk/medway/news/what-a-waste-of-35m-29917/ – Accessed 09/12/2021

Colonial Wharf Building Image – https://www.geograph.org.uk/photo/2905949 – accessed 09/12/2021, picture taken 10 years ago.

Dockyard History – https://thedockyard.co.uk/learning/digital/history-of-the-dockyard/ – Accessed 09/12/2021

New home images CGI – https://www.persimmonhomes.com/new-homes/south-east/colonial-wharf – Accessed 09/12/2021

Project 2: Brief & Concept

Exercise 2.1: Defining the Brief

1. Occupant – I have chosen children due to this area being situated within a new residential development with the majority of houses being family townhouses which are highly likely to be occupied by young families and couples looking to start a family. I also feel my chosen location (situated on the platform overlooking the water) is already an attractive one especially for families with children. I visit this area often, along with my two young children, and I cant recall a time when there hasn’t been children present in the area. The space is always occupied by families, families meeting other families, grandparents with grandchildren and school, nursery and social club meetings. The dock itself is home to a water sports club which offer a variety of kids clubs such as kayaking, sailing, swimming, paddle boarding lessons for all ages. As such this was a fairly easy decision to choose the occupant.
2. Function – Initially I envisaged my pavilion being a multi functional design, a social space for children to play whilst providing a resting place and shelter from the breeze, sunshine and potential rain due to the openness of this vast space. There is no communal shelter in this area. I imagine the design to be shared and accommodate the adults with the children, as we all know where there are children a parent or guardian is never far away. Therefore my main focus here is a resting place/shelter for children to play and guardians to also enjoy, relax, reflect and feel secure. I have no doubt such a design will encourage more families to visit and experience this beautiful, historical area.

Brief: Design a Pavilion, no larger than 9m2 in footprint and no higher than 6m, at Colonial Wharf Quayside on the Viewing Plaza Platform to provide a shelter and resting place for children.

Exercise 2.2: Precedent Studies

Solar Giraffe (October 2021) – located in the rural area of magunze in mozambique, ‘solar giraffe’ is designed by architect Ruben Morgado as a communal space that offers public access to electricity.

‘our research identified the inherent value of communication in rural areas, specifically via cell phones, where it is fundamental for the socio-economic growth of communities,’ explains Ruben morgado, the lead designer behind the project.  – Designboom.com

This design is simple yet highly impactful and multifunctional. I love the fact it gives back to the community free of charge and symbolises improvement, positivity and security and this all stems from a simple corrugated iron shelter. Physically this is not the most attractive design however the concept and meaning of this design outweighs the physical structure. Phone charging in such rural locations is vital, it provides connections, improves mobile coverage and social and economic interactions in communities. The future impact of such a design could potentially bring an increase in mobile usage, development of social engagement space and increased safety in communities. Perhaps a simple design/structure can be so much more then materials, why not add interactive technology! The possibilities become endless. This is very inspiring work due to the positive change this design has on a space.

Bradley L Bowers – ‘BRADLEY L BOWERS IS AN ART STUDIO THAT USES ADVANCED TECHNOLOGY AND MATERIAL RESEARCH TO BLEND THE WORLDS OF FASHION, FURNITURE, AND CULTURE.‘

“Right now, the furniture industry does not entertain anything that could be called daring – instead it leans on the tried and tired.” Bradley L Bowers.

The reason this precedent example of design stood out is because I totally agree with this broad statement made by this furniture designer. I initially noticed this when shopping for a sofa when I first moved out. A sofa has not changed shape, and some of the sofas that are on sale now look the exact same as sofas from hundreds of years ago! Bradley’s designs are innovative and bring change to our spaces. I also admire how he brings art, fashion and culture into his designs. I would like to bring his unusual yet complementary attitude to design into my design.

Marsk Tower by BIG, Denmark (Danish architecture studio) – A viewing tower recently constructed in Denmark for the public, constructed from steel. I initially had ideas of adding some sort of 360 shelter into my pavilion design, hence why I was attracted to this precedent example. I was also attracted to the material of this structure which is steel as I am obsessed with oxidisation. The Ombre effect of the rusted/weathered steel to fresher more shiny steel in this design is beautiful, perhaps this could symbolise the old vs the new for my design, the history and the present, relating to the new housing development and the historical past.

“Marsk tower is a testament to our two-decades-long friendship and collaboration with the blacksmiths of Schacks Trapper,” – Bjarke Ingles, BIG Founder.

“The double helix provides two stairs and an elevator with a single stack of rotating steel steps, allowing visitors to ascend and descend in a single spiraling loop from the sand to the sky – connecting the marshland to the Wadden Sea.”

“Because of the earth curvature, visitors will gradually expand their view of the horizon while walking to the top of the tower,” BIG partner Jakob Lange said.

“On the foot of the tower, you will be able to see four kilometres into the distance, but from the top of the tower the view is expanded to an 18-kilometre view into the horizon.”

The EcoKid Kindergarten, designed by LAVA architects in Vietnam, is an excellent example of how to take advantage of the versatility of wood to make the structural elements of a building more interesting, creating a playful and distinctive environment.

I like the idea of a design which is interactive and forever changing, I believe this provides repeat custom and the need to explore and discover.

Tsumiki Pavilion, Tokyo, Japan, 2015, designed by Kengo Kuma

This design makes me super happy! The design is used for everyone to have the chance to design and create and is totally interactive. A grassy area full of the same shaped wooden triangles for adults and children to experiment with or to build a shelter from the rain, hide from the suns hot rays or construct a den or a temporary study area…the possibilities are endless and multifunctional. I want to include some sort of interaction in my design, especially as the main occupant to take into consideration is children. I love the simplicity of this idea and how this design can transform a space which is personally created by the occupant. The lighting and shadows provide these triangular structures with their own ever changing art. I would like my design to transform somehow.

References

Image 1 Solar Giraffe – https://www.designboom.com/design/solar-giraffe-community-space-mozambique-10-25-2021/ – accessed 15/12/2021.

Image 2 – Bradley L Bowers – Images from – https://www.bradleylbowers.com/works – Accessed 16/12/2021 and information and article from 13/12/2021 https://design-milk.com/bradley-l-bowers-a-creative-firebrand/ – Accessed 15/12/2021

Image 3 – BIGs Twisting Marsk Tower – Article dated 13/08/2021 – https://www.dezeen.com/2021/08/13/big-twisting-marsk-tower-photos/ – Accessed 16/12/2021

Image 4 – Hukusui – Article dated 11/06/2020 – https://www.archdaily.com/941108/wooden-architecture-for-children-designing-warm-and-playful-spaces – Accessed 16/12/2021

Image 5 – https://www.architonic.com/en/project/kengo-kuma-tsumiki-pavilion/5102998#&gid=null&pid=2 – Accessed 16/12/2021

Exercise 2.3: Initial Concept Proposals

I really want the shape and form of the pavilion shelter to reflect the vernacular style of housing within the area as its so strong and obvious. Fundamentally this is to be situated on a platform over the water where there is no shelter, therefore I thought it prudent for the design to act as a hut like shelter to hide from the elements of the weather, such as wind, rain and the suns rays. Also it connects the design to the areas routes and history which dates back to Tudor times. I also wanted the shape to be influenced by a nautical theme due to the historical Dockyard which opened in 1567 which was home to the building and creation of war ships and navy boats including submarines for many years. The Dockyard was a huge part of the industrial revolution and provided the local community with a bustling hub for employment for over 400 years but equally unemployment when it eventually closed its doors in 1984. My initial sketch shows triangles but I also experimented with upside down hull shapes instead of triangles which look like boats or ships.

I envisage the design to be large enough for several children and their guardians to interact with the space. With a focused zone being specifically for children which will promote exploration and adventure. And also occupancy for adults and students with an area to study and reflect. After all their are local universities within walkable distance. Subsequently I wanted to include a seating area for the adults to relax whilst the children play which could also be somewhere to study for students. The children focused zone will have an element of playground with interactive shapes and tent like structures for exploring as well as climbing. I imagine the occupant to spend no longer than 10-30 minutes here at a time, enough time for children to explore/ drink a coffee/ make a phone call/ reflect/ relax and study.

I want the experience and atmosphere of the pavilion to be secure, safe and fun. I love the idea of the solar panels from the Solar Giraffe (Precedent example above) and I aim to use this within my design in order to power light throughout the structure giving this an extra layer of security and warmth. In addition I like the idea of supplying power to the community for phone charging and perhaps tablet and laptop charging to support studies. However I also don’t want the pavilion design to take the focus away from the view which is the water situated directly below and all around. I like the idea of the design being elevated in order to create a space underneath for children to play and to save on surface area and create additional multifunctional hubs and exploration tunnels and areas.

I like the idea of using rope here as a material as this too relates to the Chatham Dockyard and the ropery which is situated within the grounds and is still running today. Rope has been made at Chatham Dockyard for 400 years, miles upon miles of rope that has rigged the mightiest vessels ever to take to sea, including Nelson’s Victory. I imagine the material of the structure itself to either be made of steel which connects to the industrial routes of the Chatham dockyard or Timber which again connects to the building of timber framed ships made hundreds of years ago just around the corner at the dockyard. Perhaps a mixture of all three, timber, rope and steel. I can imagine the oxidisation of the steel overtime complementing the platform (the location of the pavilion) which is made of red brick, concrete and steel. These materials will also stand out against the proposed trees on the platform especially during the summer months when in full bloom.

The structure is for shelter yet I want the focus to remain on the water and I have ensured this is the case by creating an openness and facing the structure towards the water with the benches situated along the waters front. I have ensured wherever you are situated in the design you will be able to view the water. This will also ensure the design continues to benefit from natural light along with the solar powered lighting. The zigzag design will also create a shadow show which will grow and change with the seasons and natural light from the sun.

The design can be accessed via multiple entrances and exits and there is no clear route as to which entrance or exit you should take I have added this element in order to promote exploration and discovery. I loved Kengo Kuma’s moving triangular shaped structures from the precedent examples and I tried to include this fun element within my design and also the tent like framed structures. I like the idea of creating your own temporary secure space within a shared environment.

This process has certainly influenced my design and changed and moulded it into something completely different to what I envisaged before having undergone the research. Originally I imaged a circular shape cylinder like pavilion structure with lots of steps, but as you can see from my sketches above this totally changed as I researched into the location and surroundings. I can definitely see a clear business pattern and structure on how to construct and process a project going forward, it makes such a process flow naturally with guidance and confidence.

Project 3: Design & Development & Communication

Exercise 3.1:Concept Development

After further thought the platform maybe difficult for some to reach (Elderly and disabled) therefore I tweaked the design slightly as follows;

As shown above I lowered the seating on the right to ground level for ease of access. I then played around with the structure and came out with the end result:

In my final sketch I added another tent like entrance for children at ground level within the structure. The only thing I would change now is the rope ladder entrances, I think this can be covered by one larger rope ladder which filters into both tent like entrances.

Exercise 3.2: Materiality

I would also need to take into consideration the weight in which the platform could withstand. This would also have an impact on the materials used in my design.

Exercise 3.3: Design Development

My design is beginning to meet the brief, it certainly provides shelter for children as well as their guardians and offers a resting place for both as well as the opportunity to explore with an element of fun. The design offers 4 x tent like structure and 1 x open shelter with a seating area plus solar panels and a rope ladder.

Weaknesses include space within some of the tents being too small for teens and perhaps adults but similar to how we grow as humans so does the design in order to cater for all ages.

I did previously have the whole structure elevated on stilts, however this would not of been suitable for disabled access therefore I ensured this had an area for all by lowering the seating area to ground level. One weakness would be the slanting roofs of the triangular tent like shapes and not being able to stand up within the tents in certain areas, however this promotes rest and sitting down which is the brief so I am ok with this. Another weakness would be how safe this structure is for children as I assume this would have to potentially fit to certain health and safety regulations, hence why the structure and tents are not too high with the 4th tent being situated on ground level. I wonder how many children would bump their heads?

Strengths of the design is perhaps the physical view of the pavilion resembling some sort of child playground making this a welcome and inviting structure and space which creates a happy atmosphere. I think its biggest strength is how multi functional the space can be interpreted, the stairs/seating can be used for seating, table, shelter, play and rest etc. The solar power offers an injection of future technology by offering free lighting and charging for security and safety.

When considering size and scale I researched a standard 2 man sized tent and started from here. I also researched standard climbing frames and also measured some apparatus and furniture we have at home to gauge the height of the underneath of the design. I ensured my 7 year old could climb underneath the 75cm elevated area located underneath of my plan. I also didn’t want the shelter design to be to tall to and to potentially block any views of the water front from the new residential properties in the surrounding area.

I made a slight alteration to the seating area once drawn in scale as follows:

I ensured the elevation of 750mm was big enough for children to crawl under and explore on their knees. There could be interactive play by paint or interior décor within this area perhaps adding the experience of being inside a submarine which reflects the history of the submarines built here over the years. This space underneath the structure is purely for children as this is too small for adults although accessible if required therefore the space, function and interior underneath is to be aimed at smaller children.

I would like to put a bench in tent 2 and 3, there is plenty of room for this including circulation and again promotes rest and reflection. I like the idea of the shelter and seating section on the right of the design (Side 2) being the adult area with the interior reflecting this.

I feel satisfied that my design is strong and yes I could possibly add further enhancements but I am happy to proceed with the design at this stage as it fits the brief and remains true to its location, the locations history and vernacular style.

Design Development Sheets:

Exercise 3.4: Design Communication

Development Document:

A Technical Pack

Frame is to be made of steel with the remaining material being timber.

Scale Model

Visualisation

Exercise 1.1 Drawing Objects

Continuous Line

From Memory

Blind Drawing

Negative Space

Tonal

Exercise 1.2: Experimenting with Media

Method 1

Method 2

Method 3

Reflect:

I love painting and have always filled my spaces with my own personal art work, therefore I was surprised how disappointing my painting of my chosen objects was in comparison to the other methods used. I particularly liked the black marker drawing, it reminded me of an unfinished, monochrome Andy Warhol style piece.

The blind and memory drawing methods blew my mind, I have no idea how I managed to complete these. I was very impressed with my brain and how it worked to complete this task. The image seemed to burn its way into my mind and I was able to put this to paper, I am definitely going to try to this more! Such method reminded me of Boubou, an artist who paints people inverted by flicking paint onto a canvas usually with his eyes shut or blindfolded. He sometimes uses different parts of his body as well as random objects to paint as opposed to his hands.

https://www.latestly.com/social-viral/senegalese-artist-boubou-mesmerises-netizens-with-his-unbelievable-artworks-from-dumbbells-to-shoes-this-artist-can-paint-stunning-portraits-with-literally-anything-watch-videos-1316136.html

Oddly the most challenging method for me was the tonal drawing, which I would say is the most precise drawing method due to ensuring you pick up on every different shade of light, perspective, depth and texture without using lines. The shading does all the talking for this method and I found this hard to not become a perfectionist over. This project concludes for me that art is so much more than naturalism (a true-to-life style which involves the representation or depiction of nature with the least possible distortion) as individuals can interpret there senses and experiences of certain objects and spaces via colour, shading, texture, collage etc yet it is undeniable that some form of life like/naturalism is present when using art as an explanation to space and objects.

Some of my art below…..which is very strongly based on the power of women. I am not a feminist by far but really respect how a women’s body can grow life. Its also fun and experimental.

Exercise 1.3: Digital Collage

Contextual Study Point 1: Movement

Can you find 5 other examples of interior design that appear to capture movement in
their designs?

I am a big fan of movement being expressed via interior design. It creates a additional layer to a design which can elevate an entire space. From actual movement within a space powered by wind (for example) or slow movement via shadow manipulation and movement via direction of a space through lighting, texture and shapes this seems to add a further dimension to such designs which in turn can provide stimulation, distraction, harmony, ease of use of the space or even a space designed around the movement of purpose for us as the observer.

1.Barbouni Restaurant, Costa Navarino, designed by K Studio – an architecture firm in Greece designed this moving wave ceiling which is powered by wind. The ceiling is not just a design centre piece, it also helps to cool down the space by providing shade and helping the cool air circulate. The design concept of the space is sustainable and supposedly removable. The video below shows the movement of this simple yet genius design which is captivating. I originally discovered this design on Instagram a few years ago and it has always stuck in my mind. This designer captures movement by simply using movement and I can only imagine has a positive effect on the observer. This restaurant is situated on a beach in Greece, I imagine moving from the blistering hot beach into this space and not only feeling the cooler air circulating but also visually seeing the movement of the cooler air overhead can only add more impact to a cooler, calmer, fresher space, exactly what is required for a beach lunch setting. The long lines of the material used surely also enhance the size of this space again adding to the ambiance and atmosphere.

2.Damien Langlois-Meurinne one of Frances leading interior architects and designers captures movement within his designs with texture and materials and shapes. The example below is an apartment in Paris which he beautifully executes by integrating the past with contemporary touches (the doors are finished with elaborated plaster mouldings yet the doors and archways themselves are minimalistic). However instead of continuing this traditional moulding on the ceiling, Damien has added a contemporary twist by using texture with a futuristic, pointed shape, adding depth and movement to an otherwise void area and equally becoming a direct contradiction to the soft curved, flowing, organic pattern of the marble flooring. The movement expressed by his design almost gives the feel as if the Art work is in motion. Such a space complements its surroundings, artwork, furniture and lighting. What a masterpiece!

3.Kelly Wearstler – An American designer who is my personal favourite of all designers. I am obsessed with her projects and designs, she is so talented. Her use of monochrome throughout her designs is fascinating and her combinations and collaborations of architecture, texture, colour, artwork and furniture are fascinating and wonderous. She creates movement in her designs by using all methods such as furniture placement, furniture form, texture, colour, lighting and contrast. Her designs are breath taking, opulent and memorable. Similar, to many superior artists, she seems to create recognisable, strong designs with impeccable presence. I simply adore her work…its as if she is in my head! As shown below in some of her designs she uses organic shapes, for example in image 1 below – the chandelier and wooden seating area seems to have grown organically in the centre of this reception area, representing a hub of life, giving an atmospheric sense of warmth, stability and focus which in turn reflects the purpose of such an area (hotel reception/concierge).

This beachside hotel was also designed by Wearstler and again the reception area features a central focal point in front of a hand carved desk with linework, and flooring with a octagonal pattern inspired by a birds-eye view of a beach umbrella. Such a space offers unspoken direction and guidance for guests to simply belong which equally gives a welcoming atmosphere. The movement within this design speaks for itself and the pictures below show the continued movement throughout, with all surfaces having the attention and design they deserve.

4. Movement is strictly dictated by the design when is comes to a stairway, which is usually located in the heart of a space. Enzie, an award winning company (based in Australia) who specialise in spiral staircases created (in collaboration with interior designers and architects) these wonderful flowing spaces below which is a significant twist on the traditional, rigid stairways.

This architectural design completely transfers forms the hallway space, it appears light, bright, moving and forever flowing with resemblance to a winding river. A space for movement to continue. It almost makes me want to run up the stairs singing! Many experts believe the winding staircase was the the work of Leonardo Da Vinci and I can absolutely see why….genius!

5. Coup-de-foudre, an Interior Design Studio who specialise in porcelain lighting. Again the movement within their designs speak for themselves. Each design is brought to life by movement derived from texture. The delicate illuminated specimens appear to float peacefully within a space.

‘Porcelain is unpredictable. A scientist can predict the chemical path of porcelain in a kiln with formulas and equations, but the interplay of porcelain with hands, ideas and high temperatures is beyond mathematics.‘ – https://coup-de-foudre.be/

6.Theo Jansen – a Dutch artist has created large mechanisms which are able to move on their own via wind power only, known collectively as Strandbeests. Jansen has created a sustainable artificial intelligence (AI) a ‘new form of life’ derived of skeleton like tubing (no electrical parts or motor) which are able to walk via the energy of the wind on beaches. Since inception in 1990 the Strandbeests have evolved (similar to evolution) and have their own 12 periods of evolution. They are large creature like designs, with the focus of their design being movement itself. The thought of these designs roaming freely, unmanned, at their own free will on land is inconceivable.

The ethos behind the Strandbeests is global warming and the ever rising sea levels with the aim of the creations eventually being able to build sand dune barriers to help protect land.

‘skeletons that walk on the wind, so they don’t have to eat’ – Theo Jansen

Although the Strandbeests above are not an interior example of movement it is an example of a movement focused creation and I can definitely see such mechanisms being transferrable to interiors such as a wind powered self-walking beach restaurant, or self-walking/moving and ever changing walls or wallpaper, tables, chairs, lighting etc the possibilities are endless…..!

Contextual Study Point 1 – References

1. Youtube Video – 26/06/20213 Barbouni K Studio by – konstantinos karampatakis – Accessed 06/08/2021
2. Website – https://www.dl-m.fr/en/projects – Accessed 12/08/2021
3. Website – https://www.kellywearstler.com/home – Accessed 12/08/2021
4. Website – https://enzie.com.au/recent-projects/ – Accessed 16/08/2021 – https://www.vogue.com.au/vogue-living/interiors/house-tour-a-contemporary-melbourne-home-hiding-an-incredible-sculptural-staircase/image-gallery/65d77daadae1559413a51ca30cda5361 – Accessed 16/08/2021.
5. Website – https://coup-de-foudre.be/ – Accessed 16/08/2021

6. – Image 1 – https://www.pinterest.co.uk/pin/465207836488528607/ – Accessed 06/08/2021

Youtube Video https://www.youtube.com/watch?v=LewVEF2B_pM – by Theo Jansen Posted 07/06/2017 – Accessed 06/08/2021

Information via – https://www.strandbeest.com/ – Accessed 06/08/2021

https://www.bbc.com/culture/article/20141204-skeletons-that-walk-on-the-wind – Accessed 07/08/2021

Exercise 1.4: Capturing Movement

Project 2: Representing Materials

Exercise 2.1: 10 Cubes: 20-Second Pencil Renders

Exercise 2.2: 10 Cubes: Mixed Media Renders

In comparison between the two different methods of drawing (20 seconds sketch and the longer detailed drawings of materials) as expected the detailed drawings are a much more successful representation of the various materials. However I did test this theory by showing both the quick sketch’s and the detailed drawings to my children and asked them to guess the materials and surprisingly they guessed a lot more of the 20 second sketch’s than I anticipated.

I love working with charcoals and pastels as I find them easy to blend and layer in order to create more life like textures and mixtures of shadow and colour. I found Jelly and Leather the most challenging, however the detailed leather drawing turned out to be my favourite. I watched a few tutorials online with regards to drawing materials and this really helped. I also discovered it really pays off to have a quality collection of mixed media methods such as professional pencils as I found cheap pencils really difficult to work with as mistakes where difficult to correct and manipulate into something more then lines and strokes. I spent a lot of time trying to perfect the more detailed drawings, however I still felt disappointed with some of the outcomes. I think I overcomplicated the Jelly cube drawing, the majority of my simple, single media drawings turned out to be the most effective.

One thing which stood out for me was the unexpected colours and textures hidden within these materials. All the materials seemed to have layers of some sort consisting of various textures and colours. The unexpected colours within some of these materials I found fascinating, for example glass, the dainty touch of blue, yellow and red representing the anisotropy effect made all the difference. In addition the different types of marble I researched offer endless depths of colour, the deep purples and greens are infinitely beautiful. I have always been a huge fan of marble and its pure organic never ending beauty. Its deep veins of colour usually against an opposing background makes it seem lifelike and almost forever changing and growing even.

Project 3: Perspective Drawing

Exercise 3.1: One-Point Perspective

Exercise 3.2: Two-Point Perspective

Exercise 3.3: Perspective with Tone & Colour

Contextual Study Point 1: Light

I think James Turrell is trying to create an unfamiliar experience with an unimaginable environment and atmosphere such as a different dimension which in turn awakens and supports our individual imaginations.

Turrell uses manipulation of both artificial and natural light within his designs, which have a powerful impact on the observer. He seems to be able to turnaround the focus of his designs and bounce them back onto the individual by making them feel completely alone with their thoughts, imagination and concept of space. Turrell aims to make the individual the centre of the design which reminds me of Olafur Eliasson’s designs, where he too creates for the viewers perspective.

Although Turrell’s designs appear simple, however the simplicity leaves room for individual interpretation which is extremely effective. I always imagined if I ever had the opportunity to design a magazine front cover I would offer a completely blank page to which I have always wondered how many would pick up the blank covered magazine in comparison to other traditional magazines due to curiosity. Our sense of curiosity and discovery is what drives the engagement of the viewer and I feel this is the case with Turrell’s creations.

I will certainly try to incorporate this captivating effect within my work going forward as I feel it is extraordinarily powerful. Evolving individuals to interact with designs enables a personal, memorable experience.

REFERENCES

Images from https://jamesturrell.com/work/type/ – Accessed 29/11/2021

Below is a my drawing of a comparison to James Turrell’s work and a design visual of an interior desing:

Contextual Study Point 2.1: Phenomenology

Observing an occurrence or phenomenon that has become manifest in space through our senses.

Phenomenology is the study of structures of consciousness as experienced from the first-person point of view. The central structure of an experience is its intentionality, its being directed toward something, as it is an experience of or about some object.

Phenomenology, as a modern movement in philosophy, has focused discussion upon human subjectivity in new and critically important ways. Because human participants can relate intentionally to objects of the world consciousness manifests relationships to things and others that are other than cause-effect relationships. Consequently, the concepts and practices of the natural sciences are not the best model for the human sciences to follow. Husserl in his philosophy introduced a method for a more adequate approach to the achievements of consciousness and when properly modified the phenomenological method can serve as the basis for the human sciences. The use of such a method can make the qualitative analysis of phenomena rigorous and scientific.

Analysing my chosen space (No. 3 The Slip) using my senses: The size of the space is uncomfortably large. The room height is one of the defining components within the description of this space. The space appears monumental as opposed to smaller spaces which could offer a sense of protection and intimacy even oppression. The vast open entrance emphasises tension. The open plan space is so large it is hard to make out the entire contents of the building from one location, which again could trigger apprehension. The space is usually cold and dull due to the vast opening and small windows and therefore has no sense of homeliness or liveable meaning. The floors are bare, cold and made from concrete. Original walls and timber frame still stand with cracks and holes throughout, with no excuses, no apologise, bare, dirty and dusty which again portrays an unwelcoming, uncertain sensation. Yet upon entering you are greeted with arrows and roped pathways which is a clear indication we are wanted within this space, we are welcome. This in turn gives a sense of acceptance and fortune – I am fortunate enough to be entering this building which appears to be uninviting to me from the outside.

The building seems to be fighting its ever maturing structure, this is made evident by the repairs throughout the space but perhaps this is due to the dank smell or is this because I feel its old in human terms having been built over 182 years ago? This gives the building a personality for me and even a sex – an old masculine building unapologetic yet content with its being, a building made for building which once held thousands of working men during the industrial age, this whole building highlights that in its appearance, smell and noise. The space welcomes visitors to follow a roped path around the space but doesn’t want them to stay for long. There are no inviting areas, no chairs or coffee shops and no warm inviting textiles or furniture.

The properties and visual appearances of materials and surfaces trigger subjective responses. All contributed by the lighting, temperature and noise. Each visit can provoke a slightly different reaction and relationship between the space dependant on our senses perceived. Such senses may differ from day to day due to the ever changing surroundings we have no control over for example temperature, noise, weather. The weather affects the lighting within this space; when this building is full of sunshine it seems to be at its happiest, beaming lights shining throughout the space filling it with a warm magical atmosphere. However, when the weather is raining windy and cold, the space is dark, frigid and full of the howl of the wind outside. Subsequently resulting in a different connection to the space.

At the centre of all space is the human being. That space is directly and individually perceived via our senses. I adore the fact that another human can be stood next to me in the same space at the same time yet we could each have a very different connection to the space.

Exercise 2.1: Soundscape

The main noise within my chosen space is footsteps and gentle chatter. The loudest noise’s being that of children playing including perhaps laughter and sometimes crying. The very loudest being the steam train which runs just outside the building on the weekends. I decided to record the sounds of my chosen space, on the day when the steam train is present, with a watery based paint, I flicked my brush at the page whenever I heard noise and the louder or more prominent the noise was the more vigorously I flicked the paint at the page. I would of liked to have used different colours for different sounds but the sounds all roll into one, there is no time to change colour. The results are below:

I also used a basic pen and paper to record a different day within my space. There seemed to always be some sort of sound, never silence. Whether this was the wind outside or the gentle whisper of a visitor:

I tried to think of a different way to record the sound and I came up with an idea of channelling this via my phone by closing my eyes and randomly taping my keyboard on my phone, the results are below:

On completion of this exercise I was astonished by how much sound can effected the atmosphere within the space. My chosen space is a shell, with no sound absorbing materials. The acoustics are determined by the materials and surfaces used within the space. Therefore the bare, hard timber frame of the building must enhance sounds perhaps make them echo or seem louder then they are all adding to the atmosphere. The famous curved roof of my space must also have an effect on the sounds.

Exercise 2.2: Touch, Smell & Emotions

Smells, touch and sounds via drawings.

I recorded my findings in 3 separate areas of my chosen space – The Entrance, the mid section and the Mezzanine floor. My drawings of the smell, touch and sounds I experienced within the space are below:

Entrance – the entrance is vast, a huge wide opening which allows the elements in. Its cold, the floors are hard similar to a pavement yet you are inside a building. This area is quite. The sheer size of the entrance is surprising perhaps causing a sense of unease. I have tried to reflect that in my drawing above.

The mid section of the space is full of old industrial and war machinery. The smell of musk and oil fill the air. The temperature is warmer here as this is situated further inward away from the vast opening of the entrance. Sounds are reflected off the machinery and therefore seem closer. I feel a sense of busyness, commotion, hard work, labour and I can almost smell the sweat. This is a masculine part of the building, the smell of the timber frame rotting away is noticeable here. This was once a thriving industrial work shop. The connection of war instantly brings a sense of darkness, sadness and loss – perhaps creating a stressful atmosphere here. My feelings seemed to be manipulated by the arrangement of objects and signs.

The Mezzanine floor brings a contrasting atmosphere in comparison to the other areas of the space. The huge cascading ceiling is full of hundreds of windows which are highlighted by the day light creating a magical connection with the outside and the sun. This area is bright, warm and filled with light. The space is huge and open making one feel incomparable to its surroundings yet its inviting and exciting. I feel small here, insignificant yet overwhelmed by the beauty of the space. I feel happy and lucky to be able to experience such space. I feel comfortable and free.

My drawings of the 3 separate areas within the one space placed together show very different atmospheres and feelings. A lot changed between the different areas. Layers of elements contributed to the atmosphere in each space.

Exercise 2.3: Form & Light

The lighting within my chosen space changes continuously depending on the respective artificial and natural lighting situations both within the course of a day and seasonal. The atmosphere changes drastically within this space dependant on how bright the sun is and at what position. On a dull and miserable day the space is plunged into darkness. Such a vast space is hard to illuminate artificially from ceiling lights alone. On a sunny day the space is transformed into a hazy bright twinkle show. I took a video of how the light reacted throughout the space and how it reacted with objects within. My favourite was watching the light move through this war submarine. This submarine was recovered from the bottom of the ocean after being struck by a missile. The decaying of the metal has created thousands of tine little holes which the light passes through creating a delicate light show which can be amplified by my own movement.

A similar scenario happens on a lager scare via the hundreds of windows cascading around the space. The sun fills the room with blinding light bleeding into the structure and architecture of the space.

Being inside the building on a sunny bright day when the sun goes behind a cloud, the space instantly tells you. The room is cascaded into darkness. Light plays a huge role within this space. Functionally, when this space was used for building, workers would have required as much natural light as possible, and the natural materials they would have been working with would have perhaps needed sunlight to expand and settle, hence the deliberate reason for hundreds of windows. The deliberate orientation, size and position of the windows (directly above, 360) are towards the sun in order to achieve the best possible utilisation of daylight and equally to protect the interior against overheating and glare. Light from above is brighter while the light entering through a side opening only includes approximately 33% of light emitted from the sky, a rooflight may admit up to 100%.

I can almost imagine the different paths of light beams and rays piercing through the windows and crowding the space creating a continuous sharp edged pattern continuously passing over each other and bouncing off different surfaces within the room like a laser field which fits in with their surroundings, resembling the structure of the space which also has continuous triangular sharp edges.

Gloomy vs Sunny/Light vs Dark.

The atmosphere is completely transformed within this space as the main source of light is derived from natural sunlight/daylight having an instant effect on my emotions. Sunlight is associated with happiness (Mr Happy is even shaped like the sun and is yellow), making the space comfortable and warm and exciting. Towards the afternoon, on a sunny day, red and orange colours fill the space as the sun is setting making the space relaxing and clam. During a cloudy day the space is suffocated by darkness, elevating the musky damp smells creating a sense of unease and coldness.

Exercise 2.4: Material

My chosen space is full of hard cold materials. The building is made of Timber, the windows are glass and lead and the floor is concrete. I believe the roof is made of Zinc but I cant find clarity of this online and the space is now shut due to Covid 19. The structure also bares steel supports and a roped pathway. This space really is quite minimalistic as there are no inner rooms, insulation or interior structures apart from the mezzanine floor.

The space is made of heavy weight construction materials. The shell remains exposed to view. It is clear the materials enhance the atmosphere and effect of this space. They play a clear role in the acoustics, climate and energy factors. As this is such an old building the design would have depended on availability and processing options of materials. Todays perception of the materials used here are viewed differently. Polished and unpolished concrete floors within residential spaces such as kitchens are now a common occurrence as a statement piece and perhaps viewed as luxurious, where as bare concrete floors within a residential space 15 years ago would of been viewed as barbaric, unfinished, harsh or in a state of repair or renovation.

Bare Concrete flooring.

Time is apparent on the materials used throughout, the oxidisation of steel (which I am obsessed with) the rotting of the timber wood and changes in colour of materials due to sunlight and temperature. However they all seem to connect in harmony, all heavy duty industrial materials which suit their huge surroundings. The colour palette is small, consisting of dark, masculine colours with lots of browns, greys and rusty oranges all having an effect on the atmosphere of the space.

Exercise 2.5: Visualising Atmosphere through Sketch Models

Experimenting with geometric shapes, similar to the timber frame of the space.

Exercise 1.5: Visualising Experience through Sketches

The visual map at the top of the page shows the plan of the space and includes all the layers which make up the atmosphere of the space. Including different feelings, emotions and body language. One thing I have noticed is an atmosphere in one space can be experienced differently for all. Space is made up of structure, material and a function combined with individual experiences and memories. Event though it should seem easy to work out the function of a space, the meaning of space is not determined solely by its function. The sense and perception of a space is largely affected by subject attitudes. When observing the behaviour of others within my chosen space, I found myself assuming other visitors would have a similar, if not the same, train of thought as mine in the sense of appreciation for particular objects and architecture. However, after close observation of the behaviour of visitors they all seemed to follow their own unique path, all influenced by their own memories which creates relationships with their surroundings. Every space arouses a sense of comfort or discomfort which is directly and individually perceived through our senses – seeing, hearing, smelling, touching and the sense of balance. The properties and visual experiences of materials and surfaces trigger subjective responses. At the centre of all design considerations is the human being. Although I cant help but feel like throughout this gigantic space a lot of consideration was given to the ships it intended to help build and create. A building for building!

Mezzanine Floor

One area of the building which amazes me is the Mezzanine floor of this building. Each time I visit, I cant wait to get to this section of the building. When I first experienced this space, I felt an overwhelming urge to photograph it. A twirling wonder of windows, materials, textures and colours. The way the Mezzanine floor floats in the centre of the building, suspended by huge timber supports, makes the roof seem like a continuous round arch wrapping around the floor, just like walking through a kaleidoscope. I experimented with the Mezzanine photos I took by placing them into a photo editor and the results are outstanding. I think I have a strong connection with geometric patterns. I am obsessed with the interlinking triangles and also the organic colours of rust. This for me sums up how I feel when I walk through this space…….