Exercise 7: Historic and contemporary follies.

Follies are buildings with no true purpose, apart from pleasure. Traditionally they were garden structures built in English gardens and estates, imitating ruins, or historic buildings. They were supposed to enhance scenery. They were particularly popular in England in the 8th and 19th centuries and were usually inspired by classical ruins and structures seen during estate owners travels to Greece and Italy. Usually they were not very big, but I found a particular example that is rather large and visible from far away.

My chosen folly is the Earls of Durham’s Monument more commonly known as Penshaw Monument. It proudly sits on top of a large hill, surrounded by countryside and offering views all the way to Durham’s Cathedral. It has been designed by architects John and Benjamin Green of Newcastle and built by Thomas Pratt of Sunderland. It is a half-sized replica of Temple of Hephaestus in Athens. The classical greek construction, made of local gritstone is 30 metres long, 16 metres wide and 20 metres high. The built has been completed in 1844 and currently it is in the care of the National Trust. For a small fee, on the spring and summer weekends, the public can climb a staircase hidden within one of its columns and admire the views from top of the structure. The grounds around the monument are always open to the public and free to visit. The building is lit at night.

Fig. 1 Penshaw Monument

An example of an interesting contemporary folly I found is Invisible Barn. It has been designed by stpmj architects with the context of the site being the centre of attention. This design was desirable in this particular location because of the trees having similarly sized trunk and being equally spaced. This allows the mirrored walls to blend effortlessly with their surroundings. Plywood openings that pierce through the barn seem to be floating mid-air. Aluminized polyester film has been used as the reflective surface. It has been specially selected to give the desired illusion of invisible building but at the same time to be noticeable to birds, thus avoiding the wildlife colliding with the folly.

There seemed to have been an idea for the element of surprise as the ‘windows’ and ‘doors’ appear to be floating, and as curiosity draws the visitor in the structure reveals itself in its shiny blurriness. Part of the concept was for the building to blend within its surroundings, not for the nature to give way to it, but for the building to compliment it and blend within it.

The shape of the structure is unusual. Looking at it from the longer side it has an apparent shape of a typical house built on a rectangular plan, topped by a triangular on two sides and slopes on the other two surfaces roof. As if you look at this usual shape at an angle so you can see two walls, and two of the roofs’ surfaces. Yet on plan it appears as an extremely elongated diamond shape, with very narrow corners furthest apart from the centre.

The folly’s dimensions are 24’x3’x 12’ (approx. 7.3x 0.9x 3.6m) and its footprint is 72 sq. feet (6.68 m2). It has been built in 2015 and it is located in Truckee, United States.

I really like it; the building is enhancing its surroundings and allows public to have a bit of fun with the architecture.

Fig. 2  The Invisible Barn

List Of Illustrations:

Fig. 1 de Monerri, R. (2012) Penshaw Monument. [Photograph] At: https://live.staticflickr.com/7043/6827848038_0697a2ff8e_h.jpg (Accessed 04/05/2022)

Fig. 2 stpmj (2015) Photo Looking North East [Photograph] At: https://images.adsttc.com/media/images/55a5/e4bf/e58e/ce02/2900/00e8/slideshow/12.IB_Photo_Looking_North_East.jpg?1436935353 (Accessed 06/05/2022)

References:

Atlas Obscura (2022) Penshaw Monument. At: https://www.atlasobscura.com/places/penshaw-monument (Accessed 04/05/2022)

Co-Curate (2022) Penshaw Monument. At:  https://co-curate.ncl.ac.uk/penshaw-monument/# (Accessed 04/05/2022)

Frearson, A. (2015) Invisible Barn is a mirror-clad folly camouflaged among the trees of a California forest. At: https://www.dezeen.com/2015/07/24/stpmj-invisible-barn-mirror-clad-cabin-camouflaged-among-trees-california-forest/ (Accessed 06/05/2022)

History Hit (2021) Penshaw Monument. At: https://www.historyhit.com/locations/penshaw-monument/ (Accessed 04/05/2022)

Stpmj architects (2015) Invisible Barn / stpmj. At: https://www.archdaily.com/770303/invisible-barn-stpmj?ad_medium=gallery (Accessed 06/05/2022)

Wearside Online (2013) Penshaw Monument.  At: https://wearsideonline.com/penshaw-monument/ (Accessed 04/05/2022)

Research task 4: Pavilions

I tried to tackle this task of researching Serpentine Pavilions by simply typing in word. Very soon I realised that I could do it in more interesting way, more interesting for me the maker, and hopefully informative for the reader. I colour coded parts of text and picture frames referring to each pavilion, so hopefully there is no confusion. It was an extensive research task, I feel like it took forever. The references alone are 7 pages long in a word document! At the same time, by undertaking it in such a fun way I feel I memorised a lot more than by simply typing it all up. I completed the mind map using Adobe Fresco on iPad. I am not sure if the image upload is of satisfactory (readable) quality so just in case I will attach a downloadable pdf version of the mind map.

Serpentine Pavilion research mind-map.

List of illustrations:

Fig. 1 Binet, H. (2000) Serpentine Gallery Pavilion Designed by Zaha Hadid (19 June – 3 September 2000). [Photograph] At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/03/5.ZH__0-1288×1001.jpg (Accessed 28/02/2022)

Fig. 2 Binet, H (2001) Serpentine Gallery Pavilion 2001 by Daniel Libeskind with Arup. [Photograph] At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/03/5.II_.A.HB__1-640×507.jpg (Accessed 02/03/2022)

Fig. 3 Deleu, S. (2002) Serpentine Gallery Pavilion 2002 by Toyo Ito. [Photograph] At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/03/1.III_.22.SD__2-1780×882.jpg (Accessed 08/03/2022)

Fig. 4 Deleu, S. (2003) Serpentine Gallery Pavilion by Oscar Niemeyer. [Photograph] At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/03/9.IV_.08.SD__2-1780×876.jpg (Accessed 14/03/2022)

Fig. 5 Deleu, S. (2005) Serpentine Gallery Pavilion 2005 Designed by Álvaro Siza, and Eduardo Souto de Moura with Cecil Balmond and Arup. [Photograph] At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/03/4.VI_.04.SD__0-1780×876.jpg (Accessed 28/03/2022)

Fig. 6 Offenbach, J. (2006) Serpentine Gallery Pavilion 2006 designed by Rem Koolhaas and Cecil Balmond, with Arup. [Photograph] At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/03/6.VII_.C.JO__0-505×640.jpg (Accessed 04/04/2022)

Fig. 7 Offenbach, J (2007) Serpentine Gallery Pavilion 2007 designed by Olafur Eliasson and Kjetil Thorsen. [Photograph] At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/03/5.VIII_.E.JO_-667×1001.jpg (Accessed 08/04/2022)

Fig. 8 Rochowski, N. (2008) Serpentine Gallery Pavilion 2008 designed by Frank Gehry. [Photograph] At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/03/1.IX_.NR_.V-1211×1001.jpg (Accessed 08/04/2022)

Fig. 9 Baan, I. (2009) The 2009 Serpentine Gallery Pavilion / Sanaa. [Photograph] At: https://images.adsttc.com/media/images/55f6/ec6f/adbc/017f/ca00/0289/slideshow/sanaa-serpentine-4485.jpg?1442245721 (Accessed 11/04/2022)

Fig. 10 Ruault, P. (2010) Serpentine Gallery Pavilion by Jean Nouvel. [Photograph]  At: https://static.dezeen.com/uploads/2010/07/dzn_Serpentine-Pavilion-by-Jean-Nouvel-16.jpg (Accessed 12/04/2022)

Fig. 11 Herfst, W. (2011) Serpentine Gallery Pavilion 2011 / Peter Zumthor. [Photograph] At: https://images.adsttc.com/media/images/55f6/d8ec/adbc/01b8/7c00/010f/slideshow/wh_mg_0305-press-page.jpg?1442240711 (Accessed 12/04/2022)

Fig. 12 Baan, I. (2012) Serpentine Gallery Pavilion 2012 Designed by Herzog & de Meuron and Ai Weiwei. [Photograph] At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/03/3.-C-image-HdM-Serpentine-6722-Press-Page-1499×1001.jpg (Accessed 12/04/2022)

Fig. 13 Baan, I. (2013) Serpentine Gallery Pavilion 2013 by Sou Fujimoto. [Photograph] At: https://static.dezeen.com/uploads/2013/06/dezeen_Serpentine-Gallery-Pavilion-2013-by-Sou-Fujimoto_ss_111.jpg (Accessed 13/04/2022)

Fig. 14 Bann, I. (2014) Smiljan Radic’s Serpentine Pavilion Opens.  [Photograph] At: https://images.adsttc.com/media/images/53a9/72bd/c07a/80b4/8b00/01cd/slideshow/4.jpg?1403613864 (Accessed 13/04/2022)

Fig. 15 Baan, I. (2015) Serpentine Pavilion 2015 by SelgasCano photographed by Iwan Baan.  [Photograph] https://static.dezeen.com/uploads/2015/06/Serpentine-Pavilion-designed-by-Selgascano-2015-photo-by-Iwan-Baan_dezeen_468_2.jpg (Accessed 14/04/2022)

Fig. 16 Google Arts & Culture (2016)Serpentine Pavilion 2016 Streetview. [Screenshot of Streetview Image] At: Serpentine Pavilion 2016 designed by Bjarke Ingels, London , United Kingdom — Google Arts & Culture (Accessed 23/04/2022)

Fig. 17 Google Arts & Culture (2016) Serpentine Summer House 2016 designed by Kunlé Adeyemi. [Screenshot of a Streetview Image] At: https://artsandculture.google.com/streetview/serpentine-pavilion-2016-designed-by-bjarke-ingels/nwFEIVyMwISxtg?sv_lng=-0.1755509556835324&sv_lat=51.5063669021614&sv_h=264.58534955394794&sv_p=12.487605561350207&sv_pid=EwG3aS2VWdEAAAQvvUVlQw&sv_z=0.003454193039202469 (Accessed 23/04/2022)

Fig. 18 Google Arts & Culture (2016) Serpentine Summer House 2016 designed by Barkow Leibinger. [Screenshot of a Streetview Image] At: https://artsandculture.google.com/streetview/serpentine-pavilion-2016-designed-by-bjarke-ingels/nwFEIVyMwISxtg?sv_lng=-0.1756303623256844&sv_lat=51.50604217081673&sv_h=240.47026603444502&sv_p=18.766771510798918&sv_pid=y4gNO4YyTR8AAAQvvUVLCA&sv_z=0.003454193039202469 (Accessed 23/04/2022)

Fig. 19 Baan, I. (2016) Serpentine Summer House 2016 designed by Yona Friedman. [Photograph] At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/03/yona-friedman-photo-c-iwan-baan-2-1502×1001.jpg (Accessed 23/04/2022)

Fig. 20 Baan, I. (2016) Asif Khan’s Summerhouse. [Photograph] At: https://images.adsttc.com/media/images/5756/e96c/e58e/ce1b/0b00/000d/slideshow/asif_khan_-_image_c_iwan_baan_2.jpg?1465313612 (Accessed 23/04/2022)

Fig. 21 Baan, I. (2017) Serpentine Pavilion 2017, designed by Francis Kéré. [Photograph] At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/06/serpentine_fka_5444-1502×1001.jpg (Accessed 23/04/2022)

Fig. 22 Vielma, V. (2018) Frida Escobedo in her 2018 Serpentine Pavilion. [Photograph] At: https://images.adsttc.com/media/images/5b1e/737b/f197/ccc5/c800/008d/slideshow/IMG_1497.jpg?1528722284 (Accessed 24/04/2022)

Fig. 23 Baan, I. (2019) Serpentine Pavilion 2019 Designed by Junya Ishigami. [Photograph] At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/03/serpentine_2019_jia_2214-1502×1001.jpg (Accessed 25/04/2022)

Fig. 24 Baan, I. (2021) This year’s Serpentine Pavilion was designed by Sumayya Vally of Counterspace. [Photograph] At: https://static.dezeen.com/uploads/2021/06/serpentine-pavilion-by-counterspace-london_dezeen_2364_col_0-852×568.jpg (Accessed 25/04/2022)

References:

Baldwin, E. (2019) First Look at the 2019 Serpentine Pavilion. At: https://www.archdaily.com/919342/first-look-at-the-2019-serpentine-pavilion (Accessed 25/04/2022)

Basulto, D. (2009) The 2009 Serpentine Gallery Pavilion / SANAA. At: https://www.archdaily.com/28672/the-2009-serpentine-gallery-pavilion-sanaa (Accessed 11/04/2022)

Basulto, D. (2011) Serpentine Gallery Pavilion 2011 / Peter Zumthor. At: https://www.archdaily.com/146392/serpentine-gallery-pavilion-2011-peter-zumthor (Accessed 12/04/2022)

Counterspace Studio (2021) Serpentine Pavilion 2021. At: https://counterspace-studio.com/projects/serpentine-pavilion-2021/ (Accessed 01/05/2021)

Etherington, R. (2013) Serpentine Gallery Pavilion 2013 by Sou Fujimoto. At: https://www.dezeen.com/2013/06/04/serpentine-gallery-pavilion-2013-by-sou-fujimoto/ (Accessed 13/04/2022)

Fairs, M. (2007) 2007 Serpentine Gallery Pavilion. At: https://www.dezeen.com/2007/04/26/2007-serpentine-gallery-pavilion/ (Accessed 08/04/2022)

Fairs, M (2008) Serpentine Gallery Pavilion 2008 by Frank Gehry. At:  Serpentine Gallery Pavilion 2008 by Frank Gehry | Dezeen (Accessed 11/04/2022)

Frearson, A. (2011) Serpentine Gallery Pavilion 2011 by Peter Zumthor. At: https://www.dezeen.com/2011/06/27/serpentine-gallery-pavilion-2011-by-peter-zumthor-2/ (Accessed 12/04/2022)

Frearson, A. (2014) Serpentine Gallery Pavilion 2014 by Smiljan Radić opens. At: https://www.dezeen.com/2014/06/24/serpentine-gallery-pavilion-2014-smiljan-radic-opens-london/ (Accessed 14/04/2022)

Frearson, A. (2015) Serpentine Pavilion 2015 by SelgasCano photographed by Iwan Baan. At: https://www.dezeen.com/2015/06/22/serpentine-pavilion-2015-iwan-baan-london-selgascano/ (Accessed 23/04/2022)

Frearson, A. (2016) Bjarke Ingels completes Serpentine Gallery Pavilion that is “both solid box and blob”. At: https://www.dezeen.com/2016/06/07/bjarke-ingels-big-serpentine-gallery-pavilion-london-translucent-blocks-unzipped-wall/ (Accessed 23/04/2022)

Frearson, A. (2018) Frida Escobedo builds Serpentine Pavilion featuring “woven tapestry” of concrete tiles. At: https://www.dezeen.com/2018/06/11/frida-escobedo-serpentine-pavilion-2018-woven-tapestry-concrete-tiles/ (Accessed 25/04/2022)

Frearson, Am. (2019) Junya Ishigami unveils rocky Serpentine Pavilion made out of slate. At: https://www.dezeen.com/2019/06/18/serpentine-pavilion-2019-junya-ishigami-slate-mountain/ (Accessed 25/04/2022)

Harrouk, C. (2021) The 20th Serpentine Pavilion Designed by Counterspace, to Open on June 11th 2021. At: https://www.archdaily.com/961551/the-20th-serpentine-pavilion-designed-by-counterspace-to-open-on-june-11th-2021 (Accessed 01/05/2021)

Hobson, B. (2004) MVRDV’s proposed 2004 Serpentine Gallery Pavilion was “a heroic failure”.  At: Movie: proposed Serpentine Gallery Pavilion 2004 by MVRDV (dezeen.com) (Accessed 15/03/2022)

Hobson, B. (2012) Herzog & de Meuron and Ai Weiwei’s Serpentine Gallery Pavilion paid homage to its predecessors. At: https://www.dezeen.com/2016/02/14/video-interview-serpentine-gallery-pavilion-2012-herzog-de-meuron-ai-weiwei-excavation-movie/ (Accessed 12/04/2022)

Long, K. (2013) Architect Sou Fujimoto on his ‘house of straws’ Serpentine Gallery summer pavilion. At: https://www.standard.co.uk/culture/exhibitions/architect-sou-fujimoto-on-his-house-of-straws-serpentine-gallery-summer-pavilion-8643209.html (Accessed 13/04/2022)

Mairs, J. (2017) Diébédo Francis Kéré unveils tree-inspired Serpentine Pavilion with central waterfall. At: https://www.dezeen.com/2017/06/20/serpentine-gallery-pavilion-diebedo-francis-kere-architecture-london-uk/ (Accessed 24/04/2022)

Moore, R. (2017) Serpentine pavilion 2017: Francis Kéré’s cool shades of Africa. At: https://www.theguardian.com/artanddesign/2017/jun/25/francis-kere-serpentine-pavilion-2017-review-burkina-faso

Moore, R. (2018) Serpentine pavilion 2018: Frida Escobedo’s ‘intimate public space’. At: https://www.theguardian.com/artanddesign/2018/jun/03/frida-escobedo-serpentine-gallery-pavilion-2018-mexico-youngest-architect (Accessed 25/04/2022)

Moore, R. (2021) Serpentine Pavilion 2021 review – a sophisticated chimera of light and depth. At: https://www.theguardian.com/artanddesign/2021/jun/13/serpentine-pavilion-2021-review-a-sophisticated-chimera-of-light-and-depth (Accessed 01/05/2022)

Nouvel, J. (2010) Serpentine Gallery – The Red Sun Pavilion. At:  Serpentine Gallery – The Red Sun Pavilion — Ateliers Jean Nouvel (Accessed 12/04/2022)

Portilla, D. (2013) Serpentine Pavilion / Sou Fujimoto. At: https://www.archdaily.com/384289/serpentine-pavilion-sou-fujimoto (Accessed 13/04/2022)

Ravenscroft, T (2021) Counterspace combines abstracted fragments of London for carbon-negative Serpentine Pavilion. At: https://www.dezeen.com/2021/06/08/counterspace-sumayya-vally-serpentine-pavilion-carbon-negative/ (Accessed 01/05/2022)

Serpentine Galleries (2000) Serpentine Gallery Pavilion 2000 by Zaha Hadid. At: Serpentine Gallery Pavilion 2000 by Zaha Hadid – Serpentine Galleries (Accessed 28/02/2022)

Serpentine Galleries (2001) Serpentine Gallery Pavilion 2001by Daniel Libeskind with Arup. At: https://www.serpentinegalleries.org/whats-on/serpentine-gallery-pavilion-2001-daniel-libeskind-arup/ (Accessed 02/03/2020)

Serpentine Galleries (2002) Serpentine Gallery Pavilion 2002 by Toyo Ito and Cecil Balmond with Arup. At: Serpentine Gallery Pavilion 2002 by Toyo Ito and Cecil Balmond with Arup – Serpentine Galleries (Accessed 08/03/2022)

Serpentine Galleries (2003) )Serpentine Gallery Pavilion 2003 by Oscar Niemeyer. At: Serpentine Gallery Pavilion 2003 by Oscar Niemeyer – Serpentine Galleries (Accessed 14/03/2022)

Serpentine Galleries (2005) Serpentine Gallery Pavilion 2005 by Alvaro Siza and Eduardo Souto de Moura with Cecil Balmond – Arup. At: Serpentine Gallery Pavilion 2005 by Alvaro Siza and Eduardo Souto de Moura with Cecil Balmond – Arup – Serpentine Galleries (Accessed 28/03/2022)

Serpentine Galleries (2006) Interview Marathon.  At: Interview Marathon – Serpentine Galleries (Accessed 04/04/2022)

Serpentine Galleries (2006) Serpentine Gallery Pavilion 2006 by Rem Koolhaas and Cecil Balmond with Arup. At: Serpentine Gallery Pavilion 2006 by Rem Koolhaas and Cecil Balmond with Arup – Serpentine Galleries (Accessed 04/04/2022)

Serpentine Galleries (2007) Serpentine Gallery Pavilion 2007 by Olafur Eliasson and Kjetil Thorsen. At: https://www.serpentinegalleries.org/whats-on/serpentine-gallery-pavilion-2007-olafur-eliasson-and-kjetil-thorsen/ (Accessed 08/04/2022)

Serpentine Galleries (2008) Serpentine Gallery Pavilion 2008 by Frank Gehry. At: Serpentine Gallery Pavilion 2008 by Frank Gehry – Serpentine Galleries (Accessed 11/04/2022)

Serpentine Galleries (2009) Serpentine Gallery Pavilion 2009 by Kazuyo Sejima and Ryue Nishizawa of SANAA. At: https://www.serpentinegalleries.org/whats-on/serpentine-gallery-pavilion-2009-kazuyo-sejima-ryue-nishizawa-sanaa-0/ (Accessed 11/04/2022)

Serpentine Galleries (2010) Serpentine Gallery Pavilion 2010. At: Serpentine Gallery Pavilion 2010 – Serpentine Galleries (Accessed 12/04/2022)

Serpentine Galleries (2011) Serpentine Gallery Pavilion 2011 by Peter Zumthor. At: https://www.serpentinegalleries.org/whats-on/serpentine-gallery-pavilion-2011-peter-zumthor/ (Accessed 12/04/2022)

Serpentine Galleries (2012) Serpentine Gallery Pavilion 2012 Designed by Herzog & de Meuron and Ai Weiwei. At: https://www.serpentinegalleries.org/whats-on/serpentine-gallery-pavilion-2012-herzog-de-meuron-and-ai-weiwei/ (Accessed 12/04/2022)

Serpentine Galleries (2013) Serpentine Gallery Pavilion 2013 by Sou Fujimoto. At: https://www.serpentinegalleries.org/whats-on/serpentine-gallery-pavilion-2013-sou-fujimoto/ (Accessed 13/04/2022)

Serpentine Galleries (2014) PRESS PACK SERPENTINE PAVILION 2014 Designed by Smiljan Radić. At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/06/2014-06-23PavilionPressPackwithSponsors-Final.pdf (Accessed 14/04/2022)

Serpentine Galleries (2015) PRESS PACK SERPENTINE PAVILION 2015 DESIGNED BY SELGASCANO. At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/06/19-06-2015_pavilion_press_pack_final.pdf (Accessed 23/04/2022)

Serpentine Galleries (2016) Serpentine Pavilion and Summer Houses 2016. At: https://www.serpentinegalleries.org/whats-on/serpentine-pavilion-and-summer-houses-2016/ (Accessed 23/04/2022)

Serpentine Galleries (2017) Press Pack Serpentine Pavilion 2017 Designed By Francis Kéré. At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/06/pavilion_2017_press_pack_final.pdf (Accessed 24/04/2022)

Serpentine Galleries (2018) Press Pack Serpentine Pavilion 2018 Designed By Frida Escobedo. At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/06/pavilion_2018_press_pack_final_0.pdf (Accessed 25/04/2022)

Serpentine Galleries (2018) Serpentine Pavilion 2018 by Frida Escobedo. At: https://www.serpentinegalleries.org/whats-on/serpentine-pavilion-2018-designed-frida-escobedo/ (Accessed 25/04/2022)

Serpentine Galleries (2019) Press Pack Serpentine Pavilion 2019 Designed By Junya Ishigami. At: https://d37zoqglehb9o7.cloudfront.net/uploads/2020/06/pavilion_2019_press_pack_final_0.pdf (Accessed 25/04/2022)

Serpentine Galleries (2019) Serpentine Pavilion 2019 by Junya Ishigami. At: https://www.serpentinegalleries.org/whats-on/serpentine-pavilion-2019-designed-junya-ishigami/ (Accessed 25/04/2022)

Serpentine Galleries (2021) Serpentine Pavilion 2021 designed by Sumayya Vally, Counterspace. At: https://www.serpentinegalleries.org/whats-on/serpentine-pavilion-2021-designed-by-counterspace/ (Accessed 01/05/2022)

Serpentine Galleries (2021) Press Pack Serpentine Pavilion 2021 Designed By Sumayya Vally, Counterspace. At: https://d37zoqglehb9o7.cloudfront.net/uploads/2021/06/SERPENTINE-PAVILION-2021-PRESS-PACK-FINAL-2.pdf (Accessed 01/05/2022)

Serpentine Galleries (2021) Serpentine Pavilion 2021: Fragments. At: https://www.serpentinegalleries.org/whats-on/serpentine-pavilion-2021-fragments/ (Accessed 01/05/2022)

Stott, R. (2014) Smiljan Radic’s Serpentine Pavilion Opens. At: https://www.archdaily.com/519849/smiljan-radic-s-serpentine-pavilion-opens (Accessed 14/04/2022)

Stott, R. (2015) SelgasCano’s 2015 Serpentine Gallery Pavilion Opens. At:  https://www.archdaily.com/645194/selgascano-s-2015-serpentine-gallery-pavilion-opens (Accessed 23/04/2022)

Stott, R. (2016) BIG’s 2016 Serpentine Pavilion Opens Alongside 4 Summerhouses. At: https://www.archdaily.com/789018/bigs-2016-serpentine-pavilion-opens-alongside-4-summerhouses#:~:text=The%202016%20Serpentine%20Pavilion%2C%20designed,the%20program%20of%20the%20pavilion. (Accessed 23/04/2022)

Stott, R. (2018) Frida Escobedo’s 2018 Serpentine Pavilion Opens in London. At: https://www.archdaily.com/896135/frida-escobedos-2018-serpentine-pavilion-opens-in-london (Accessed 25/04/2022)

Taylor-Foster, J. (2017) Francis Kéré to Design 2017 Serpentine Pavilion. At: https://www.archdaily.com/805780/francis-kere-to-design-2017-serpentine-pavilion (Accessed 24/04/2022)

Turner, B. (2010) Serpentine Gallery Pavilion by Jean Nouvel. At: https://www.dezeen.com/2010/07/06/serpentine-gallery-pavilion-by-jean-nouvel/ (Accessed 12/04/2022)

Wainwright, O. (2019) Serpentine Pavilion 2019: Japan’s great conjuror falls foul of health and safety. At: https://www.theguardian.com/artanddesign/2019/jun/18/serpentine-pavilion-2019-review-junya-ishigami (Accessed 25/04/2022)

Wainwright, O. (2021) Interview: Barbers, books and bakers: how migrant hotspots inspired the Serpentine Pavilion. At: https://www.theguardian.com/artanddesign/2021/jun/08/barbers-books-boozers-migrant-hotspots-inspired-erpentine-pavilion-sumayya-vally (01/05/2022)

Zaha Hadid Architects (2000) Serpentine Pavilion. At: Serpentine Pavilion – Zaha Hadid Architects (zaha-hadid.com) (Accessed 28/02/2022)

Storyboarding workshop

Yesterday we had a super informative, online storyboarding workshop. I learnt how to plan a presentation and present it as a storyboard with a story being compared to a slide: the action rising to the the story climax and then exhilarating slide down. We got given a brief and planned our own storyboard ‘schedule’ to help plan how to present a design of an artist studio.

My storyboard from the workshop.

Invisible cities – drawing and close reading workshop.

In the workshop we read and discussed couple of chapters from Italo Calvino’s ‘Invisible Cities’. We chose a chapter ‘Thin cities 5.’ about Octavia – ‘ the spider-web city’ suspended above the clouds, between two steep and extremely high mountains. We were tasked with drawing the city based on the text.

First was the masterplan, created in 15 mins:

Thin cities masterplan

Then zoomed in view of one square of the masterplan, also created in 15 mins.

Masterplan zoomed in.

Then zoomed in, three perspective views, each drawn in about 2 minutes:

I drew them all using ipad (adobe fresco). Great workshop, really enjoyed it. As usual it was fascinating to see how each participant imagined the city and spaces differently, despite all coming from the same piece of text.

Exercise 6b: You think you know this object?

I enlarged by object 10 times. So its overall dimensions are 4.8m long by 4m wide by 4.4m high. Its dimensions and the angled legs remind me a little bit of Peckham library pods. Perhaps that is where Will Allsop got his inspiration from. The footstool use is completely redundant, the object became a space. It could be an elevated pavilion or a tiny house.

Exercise 6a: An object with a use

My chosen object is a footstool. It has wooden legs and structure. The seat park is upholstered in grey fabric and foam. The elements are held together with metal screws. The overall dimensions are 480mm long by 400mm wide by 440mm high.

It can be used as a footrest or a seat. In my house it is usually either a footrest or a cat bed.

Reflection:  

I decided to make a drawing in CAD, as I felt I needed to practice it some more. Plotting proved difficult again but with some help of online tutorials I got over it. Next exercise should go a little faster as scaling the objects will be at a touch of a button. I enjoyed measuring the object and all its elements. Section was a bit challenging as I don’t actually know what this footstool would look like sliced in half, I had to employ my imagination and use my common sense.

Here is my CAD drawing in PDF, so finer details can be seen.

Exercise 5: Inhabiting and occupying space.

First I used a porcelain salt pig.

Figures in scale 1:100 made it look and feel enormous. The interior floor level is higher that eye level of the figures. The room is spacious and very tall. It could have a function of a pavilion, a building (perhaps commercial) with a viewing point on the ‘roof’. It has semi enclosed interior, but we could imagine the opening is glazed and we could then have a cavernous, grand and bright interior space inside.

Figures scale 1:50 make the inside of the salt pig feel more enclosed and cosier. The function as presented in this scale could be a smaller pavilion or a garden structure providing a semi open shelter. If we add glazing on the opening it could be a really cool garden office or she shed.

Figures in scale 1:20 make this object seem smaller than in previous examples. It could still provide a shelter but for 1-2 people. With some mattress and cushions it could be comfortable garden bed / relax area that provides shelter from rain and sunshine. It could also be a cupboard or a wood fired pizza oven.

The I found a cat bowl

Figures in scale 1:100 make this object look very large, it could be a building when place upside down, or perhaps a manmade hill with a view point. It reminds me a little bit if Table Mountain in Cape Town with its steep edges and flat top, although the scale is very much off for this object to be table mountain. When placed with opening up the bowl could be a big and deep pool. It doesn’t provide shelter when placed right way up but it can contain a lot of people or water.

Figures in scale 1:50 indicate more ‘individual’ use, especially when placed as in the photos below, with the opening up. It could be a garden pool – the kind available in the shops but deep enough to need a ladder to get in and out of it. It could also be a stage or a raised patio. It could elevate (when placed upside down).

Figures in scale 1:20 indicate a different object with even more personal use. I think it could be used as a hot tub or a large fire pit. It seems low enough to be able to limb in it and the sides are at nice angle to provide comfortable back rest.

Reflection on the task:

It was a nice exercise, to start with I had no idea what function these objects could have. Only when I looked at the photos, seeing my figures next to it, ideas for use started flowing. Having scale figures definitely helps imagination and presentation…

Research task 3: Scale and ergonomic design

How do you think ergonomic and anthropometric design, and scale, have been explored in the 2013 project Kroppsrom (Corporeal room) at the National Museum of Architecture by Atelier Oslo? Reflect on your responses to the project in your learning log.

I think the designers explored the anthropometric data of the average human figure and designed the space around them. One of the resources mentioned that the space was supposed to make people move in a way they would not expect, and create the experience through the activity, as well as simple, peaceful and gently lit interior.

I imagine Atelier Oslo drew the human figures as pictured in the data images and made the space flow from one set of dimensions to another and so on. I can sort of see this process in my imagination, but it is quite hard to describe it, but I’ll try anyway. A 3D animation of an opening being created in the solid mass. The solid mass is surrounding (and filling) the human forms being carved out. As the corridors and caverns are created, the human figures remain – they aren’t carved out with the solid mass that they are contained within. As if the figures are in a different layer to the mass. The whole process is smooth and flows easily.

Fig. 1 Body measurements

Considering the process of creation of such an interesting, unusual space is a great activity. I wonder If I am at least a little bit correct in my guessing on how the designers idea started. Thinking about it got my imagination going. I often wonder about hows and whys, it was an enjoyable exercise.

List of illustrations:

Fig. 1 QPractice (2018) Body measurements. [Drawing] At: https://www.qpractice.com/wp-content/uploads/Body-measurements1.jpg (Accessed 13/02/2022)

Research task 2: Architecture is everywhere

Undertake some research into artists and designers who have challenged and embraced the perception of scale in their work. As a starting point, search online for Sou Fujimoto’s Architecture is Everywhere experiments with scale, or Claes Oldenburg’s giant binoculars. You could also look for food shaped fast-food diners or the Longaberger Company’s basket building in America, or BIG’s Lego House in Denmark.

Document your research in your learning log, and reflect on how they challenge your ideas of scale.

After briefly researching Sou Fujimoto and Claes Oldenburg I stumbled across Felipe De Castro’s work.

Felipe De Castro is a Brazilian architectural designer who finds inspiration for building designs in everyday objects. In fig. 1 and fig 2. below we can see examples of his work and what objects he based his designs on. Simply brilliant! His Instagram page is full of his unusual ideas fed by usual objects. I simply cannot include too much here but feel free to check it out (Felipe de Castro (@felipedecastro.arq) • Instagram photos and videos )

Fig. 1 Felipe De Castro Automatic Pencil Skyscrapers
Fig. 2 Felipe De Castro Lever Arch Building

There are several London skyscrapers shaped like everyday objects these include The Walkie Talkie, The Shard, The Gherkin and The Cheese Grater. I wonder if the architects showed the objects to their clients during the sales pitch or whether they mentioned them just in the name.

The Walkie Talkie (20 Fenchurch Street) by Rafael Vinoly became infamous for melting cars (through concentrating reflected sunrays) and it is alleged it creates a strong downright draft. Even though melting problem has been repaired by installing nets on the building it has been awarded the 2015 Carbuncle Cup for Britain ugliest building. I quite like the way it looks, especially the antennas on the roof going with the whole walkie talkie theme. It is unfortunate that not all design shapes can be implemented without causing harm to the surroundings.

Fig. 3 The Walkie Talkie

The Shard, reminds me especially of the object it is named after at night, when it is glowing in the night sky. The building has been designed by Renzo Piano and the building was completed in 2012.

Fig. 4 The Shard

The Gherkin (30 St. Mary Axe) has been designed by Norman Foster and the works finished in 2004.

Fig. 5 30 St Mary Axe Elevation.

The Leadenhall Building has been designed by Roger Strirk Harbour + Partners and works completed in 2014. The building has been nicknamed ‘The Cheesegrater’ as it looks like a giant kitchen tool. At least this one reflects the sunshine upwards, not downwards like the walkie talkie.

Fig. 6 The Leadenhall Building

The last piece of my research is a church in Taiwan. It was constructed in 2016. Allegedly its shape is supposed to attract women. It is not supposed to be used for usual mass but for weddings etc. I am not sure how I feel about this building, but there’s something for everyone!

Fig. 7 The Glass Slipper Church

List of illustrations:

Fig. 1 Felipe De Castro (2020) Automatic Pencils Skyscrapers. [Drawing and Photograph] At: https://cdn.sortra.com/wp-content/uploads/2020/02/felipedecastroillustartion009.jpg (accessed 06/02/2022)

Fig. 2 Felipe De Castro (2020) Lever Arch Building. [ Drawing and Photograph0 At: https://cdn.sortra.com/wp-content/uploads/2020/02/felipedecastroillustartion011.jpg (Accessed 06/02/2022)

Fig. 3 Secret London (2020) The Walkie Talkie. [Photograph] At: https://offloadmedia.feverup.com/secretldn.com/wp-content/uploads/2020/01/18081416/walkie-talkie-charity-walk.jpg (Accessed 06/02/2022)

Fig. 4 Guttridge, N. (2013) The Shard. [Photograph] At: https://static.dezeen.com/uploads/2013/01/dezeen_The-Shard-by-Renzo-Piano-photographed-by-Nick-Guttridge_3.jpg (Accessed 06/02/2022)

Fig. 5 Foster and Partners (2022) 30 St Mary Axe Elevation. [Drawing] At: https://www.fosterandpartners.com/media/2636967/1004_fp489566_indesign.jpg?width=1920&quality=85 (Accessed 06/02/2022)

Fig. 6 Bryant, R. (2014) The Leadenhall Building. [Photograph] At: https://images.adsttc.com/media/images/5410/992b/c07a/80b1/d700/0060/slideshow/3510_N3509.jpg?1410373879 (Accessed 06/02/2022)

Fig. 7 Getty Images (2016) The Glass Slipper Church. [Photograph] At: https://ichef.bbci.co.uk/news/976/cpsprodpb/8C3E/production/_87720953_gettyimages-504954048.jpg (Accessed 06/02/2022]

References:

Archdaily (2014) The Leadenhall Building / Rogers Stirk Harbour + Partners. At: https://www.archdaily.com/547041/the-leadenhall-building-rogers-stirk-harbour-partners (Accessed 06/02/2022)

Chen, H., Tsoi, G. (2016) The giant glass slipper church of Taiwan. At: The giant glass slipper church of Taiwan – BBC News (Accessed 06/02/2022)

O’Sullivan, F. (2015) London’s Worst Building. At: The Walkie Talkie Really Is London’s Worst Building – Bloomberg (Accessed 06/02/2022)

Proto, L (2015) Carbuncle Cup 2015: Walkie Talkie skyscraper named as Britain’s ugliest building. At: Carbuncle Cup 2015: Walkie Talkie skyscraper named as Britain’s ugliest building | London Evening Standard | Evening Standard (Accessed 06/02/2022)

Velkjovic, M.  (2020) Urban Architect Enjoys Transforming Everyday Objects into Unusual Buildings. At: Urban Architect Enjoys Transforming Everyday Objects into Unusual Buildings (sortra.com) (Accessed 06/02/2022)

A design for my workplace…

Recently I have been tasked with finding a contractor to build us a bespoke display unit. I decided that the best way to go ahead is to create drawings and send them to potential contractors, so they can see what is expected and can respond to my enquiry accordingly. Below are my drawings. They are not techical drawings, more so visual sketches with added technical information.

Exercise 2: Altering boundaries. Altering spaces. Altering feelings.

Section B drawing made me feel better than section c. I think this is to do with proportions of the rooms. Room in section C is better proportioned, you can do more in it, section C room could only be used for walking. You can put furniture in, lets say a chair, but you’d either face the wall, making you feel restricted or the long ‘corridor’.

Exercise 1: Defining the parameters of your space.

‘If the brief was “design a space with an area of 10m2” which of those plans would you choose?
1m x 10m? 2m x 5m? or 3.33m x 3.33m?’

It really depends on the function of the room.

1m x 10m would only suit a corridor or a hallway, the other two could also be hallways but may be practical to have other rooms in those dimensions.

2m x 5m could be a corridor or a hallway (even with a staircase), bathroom, kitchen or maybe even a really narrow bedroom or a lounge. What it couldn’t be is a family dinning room, it would not fit a dinning set and allow for people to pass around comfortably.  

3.33m x 3.33m could be all of these (including the dining room) too but out the 3 options that would be best for the bedroom or kitchen (in my opinion). Just because certain needs for these rooms would be met. Such as – it needs to fit a double bed and have space on both sides.

2m x 5m in my opinion would be best for a nice 4-piece bathroom, there would be space for a large bath, toilet, large shower and a sink. Of course, the layout would depend on other elements of the space, such as positioning of doors and windows, and of course its height. Perhaps each of these spaces could only be used as eaves storage if there wasn’t enough headroom.

3.33m x 3.33m would make a tiny lounge, but with higher ceiling, and hopefully a skylight in it, the room wouldn’t feel too oppressive.

Dimensions on its own are not enough to design the space, windows (and their aspect), doors, existing architectural features all have an impact on design decisions. The space would feel differently if it is a 2m x 5m bedroom or a bathroom. Although on another though that size could be quite nice for a child’s (or a single bedroom), with zoning options despite small size.

Each of these sizes is quite small, 10 sq. m. is not the biggest of rooms. The square one would probably feel nicest, least oppressive, as long as it is not filled up with furniture.

Research task 1: Exploring ideas of boundaries.

See if you can find other designers and architects who have explored the idea of

Boundary in spatial design.

Norman Foster and Thomas Heatherwick. Project: Bund Finance Centre in Shanghai, completed in 2017

The creators of Bund Finance Centre have clearly played with the idea of boundaries in architecture. They created a façade of layered, brass coloured pipes that move in different directions. Behind the curtain is the balcony, which has a moving boundary wall. It must be mesmerising being there, surrounded by this moving, semi open feature. Below is a link to a youtube video, showing timelapse of the Bund Finance Centre in Shanghai.

Time-lapse shows moving curtain-like facade of theatre in Shanghai by Foster and Heatherwick – YouTube

Leeza Soho Skyscraper in Beijing completed in 2019, by Zaha Hadid Architects completed in 2019

This building pushes the idea of boundaries with the worlds tallest atrium (according to Lizzie Crook, Dezeen at Zaha Hadid Architects completes Leeza SOHO tower with world’s tallest atrium (dezeen.com))

The tower is just over 194m high and the atrium runs through the entire height. The ceiling boundary was literally taken to a new level. The atrium space is fully glazed on its spiralling, swaying sides, making it appear as if it is connecting two separate skyscrapers. The floors inside have different depths and varying shapes, giving the twisting interior appearance of a flow. In this fine example we can see how the idea of internal and external boundaries were explored and pushed to the limits, with massive glass windows and internal boundaries between the atrium and the internal walls and balconies facing it. The interior looks like a skyscraper within a skyscraper, or a skyscraper that split.

Analemma Tower, Conceptual Design by Clouds Architecture Office.

‘Analemma Tower is a proposal for the world’s tallest building ever. Harnessing the power of planetary design thinking, it taps into the desire for extreme height, seclusion and constant mobility.’ (Clouds Architecture Office, 2021, https://cloudsao.com/ANALEMMA-TOWER)

Proposal, if or when realised will be the tallest building ever with its peak at 32000m above sea level (this is longer than my route to work and back!) The boundary of laws of physics seems to be challenged here. The designers had to consider physics, and think of extreme pressure and temperature outside, for example they considered window designs depending on the level and subsequent atmospheric conditions.

Clouds Architecture seriously defied boundaries with this idea. Ground level line is a crucial part of an elevation or section drawing. Despite that, Analemma Tower is supposed to be suspended off an asteroid, well above ground. Also, location of a skyscraper is normally fixed to one place. Analemma would be following a figure eight trajectory, crossing northern and southern hemispheres, over the same pattern every 24 hours. Perhaps this is the future of building, and the only way to get there is defy boundaries. The tower is set to be self-sufficient, harvesting water from rain and recycling it as much as possible, energy will be provided via solar panels. This is important not only because of sustainability, but also practicality – how else can we deliver water and energy (and I suppose huge amounts of it) to a suspended, moving building? Gravity would be an important aspect of the project planning; it would surely be a very heavy object… Can the ropes supporting it be strong enough? How will people get on and off the tower if it would be in constant motion? The route of the tower would make it slow down on the curved edges, with slowest speed to be above Manhattan in New York. Perhaps platforms moving at exact same speed as the tower would allow ‘passengers’ (residents?) on and off. The varying speed against earth surface is not specified in the project description. How will this building react to extreme weather? Would it sway in strong winds? This is a really exciting proposal, I am curious to see if it will be realised.

Fig. 7 Analemma tower elevation (drawing by Clouds Architecture Office)

List of illustratuions:

Fig. 1 Ghinitoiu, L (2017) Bund Finance Centre Façade. [Photograph] At: https://static.dezeen.com/uploads/2017/06/bund-finance-centre-norman-foster-heatherwick-laurian-ghinitoiu-shanghai-photography_dezeen_1704_col_10-852×568.jpg (Accessed 05/01/2022)

Fig. 2 Ghinitoiu, L (2017) Bund Finance Centre Balcony. [Photograph] At: https://static.dezeen.com/uploads/2017/06/bund-finance-centre-norman-foster-heatherwick-laurian-ghinitoiu-shanghai-photography_dezeen_1704_col_18-852×568.jpg (Accessed 05/01/2022)

Fig. 3 Hufton and Crow (2019) Leeza Soho Skyscraper Interior. [Photograph] At: https://static.dezeen.com/uploads/2019/11/leeza-soho-tower-zaha-hadid-architecture-office-china-beijing_dezeen_2364_col_7-852×900.jpg (Accessed 05/01/2022)

Fig. 4 At: Hufton and Crow (2019) Leeza Soho Skyscraper Exterior. [Photograph] At: https://static.dezeen.com/uploads/2019/11/leeza-soho-tower-zaha-hadid-architecture-office-china-beijing_dezeen_2364_col_5-852×751.jpg (Accessed 05/01/2022)

Fig. 5 Clouds Architecture Office (2017) Analemma Tower Above Manhattan. [Visual] At: https://media-cldnry.s-nbcnews.com/image/upload/t_fit-1240w,f_auto,q_auto:best/newscms/2017_13/1947031/analemma-05_cloudsao.jpg (Accessed 06/01/2022)

Fig. 6 Clouds Architecture Office (2017) Analemma Tower, view from street level. [Visual] At: https://freight.cargo.site/w/2000/i/364df2ee4116008871fc33999b04444ddcb3c0e14744ab780ad334af6c5aa818/160816_PU_UP-btwn-two-tower_collage.jpg (Accessed 06/01/2022)

Fig. 7 Clouds Architecture Office (2017) Analemma Tower, Elevation. [Technical Drawing] At: https://freight.cargo.site/w/2000/i/e695a15564be959568585e78b6093ba14d60d83ae1488f951586d3979fbf7e5c/Analemma-ATMOS-diagram-01.jpg (Accessed 06/01/2022)

References:

Clouds Architecture Office (2021) Analemma Tower. At: https://cloudsao.com/ANALEMMA-TOWER (Accessed 06/01/2022)

Crook, L (2019) Zaha Hadid Architects completes Leeza Soho skyscraper with world’s tallest atrium. At: Zaha Hadid Architects completes Leeza SOHO tower with world’s tallest atrium (dezeen.com) (Accessed 05/01/2022)

Frearson, A (2017) Foster and Heatherwick complete Shanghai theatre with curtain-like façade. At: Foster and Heatherwick build Shanghai arts centre with curtain-like facade (dezeen.com) (Accessed 05/01/2022) 

Freeman, D (2017) Firm floats plan to hang colossal skyscraper from an asteroid. At: https://www.nbcnews.com/mach/mach/firm-floats-plan-hang-colossal-skyscraper-asteroid-ncna739601 (Accessed 06/01/2022)

Assignment 1: The Double Diamond Design Process

Reflection on Assignment 1 and Part 1:

During Part One of Unit 2 the most important things I learnt were:

  1. How to have fun in design process… I was actually quite stressed about this assignment as I was stuck not knowing what to do for ages. And as I was taking a photo of the barbie doll with the cake stand in my kitchen (context for baking) I felt joy. And not only because this was last task or this very difficult assignment, I enjoyed placing it in this conext and seeing how it works.
  2. Talking to other students and tutors/ designers helps to get your creative juices flowing.

Looking back I enjoyed the model making and lego building most. The latter was especially ‘freeing’ as I just built, not knowing what will come out of it. It was just really hard to come up with a function of my model and then creating a story. Something I need to develop – abstract creativity with a goal.

I hope what I did in this assignment is right…

A visit to Kent

I visited Kent again and again was amazing by beautiful, characterful architecture. I also discovered I am obsessed with sash windows!

Here’s my attempt of drawing one. Unfortunately I had to stop drawing and get going so didn’t quite finish the brickwork.

My drawing of a sash window.

And some historical buildings I spotted.

Photos I took in Faversham and Mount Ephrain Gardens

I went for a meal to restaurant called The Dairy. I loved the bar stool in there, so closely referring to the name of the place.

The Diary restaurant

I also went to Mount Ephrain Gardens where I could admire the different colours, textures and shapes. It was a truly inspirational trip.

Unit 2, Part 1, Research task: Frank Gehry

I watched ‘Sketches of Frank Gehry’ and ‘Manifesto by Frank Gehry’.

I observed that Frank Gehry’s creative process is a bit like mine. I have previously noted that the hardest is to start, therefore I procrastinate. And once I start it is all much easier. Gehry made a similar observation about his own process. Perhaps it is like that for most people.

Mr Gehry mixes art with architecture – I would dare to say he is an ‘art-chitect’. He takes risk with his creations, wants them to be unusual – the ‘weirder’ the better. He is a visionary who often seems to be setting the precedent rather than look for one. Interestingly he did not fit amongst other architects but found a support group amongst artists.

He makes models, then changes them. After that, he does not like what he created. He continues to look and contemplate. He wants to find out what exactly needs changing to make him like it more. His model making process uses trial and error, but a slow and carefully considered one. Putting model together makes him discover the next step or a different feature. He believes accidents are sometimes failures, but they are important step in the design process. He spends time to find something good in them. Frank believes project drawings and models are lifeless, but once the built is complete, the intended energy shows. Some of his model shapes look like they could be built using Lego bricks – yet very original, complicated shapes.

Like Charles Eames, Frank Gehry is a problem solver.

He involves his team in looking and contemplating and implementing changes. A lot of the design process is looking together and having constant conversations about the model. Frank relies on his team, they have long standing relationships, communicate well, and understand one another.

He is great materials researcher.

Introducing CAD technology into model making and design process allowed Frank to design more freely and gave him more artistic flexibility, while being clearer to the contractors and leaving less room for their interpretation. Sketch models are still important for him to understand and see how the elements work together.

As a child Frank played ‘master planning’ with his grandmother – building entire cities using toy blocks. He also loved drawing as a child and was considered talented by his teacher. Perhaps this is when it all started.

Being a painter is Frank’s dream. Despite being so artistic he never tried it, he said he would not know how to. He believes painting and architecture have something in common – surface.

Function is always at the heart of his designs. Whether its art, education, leisure etc. the design must fulfil this priority, his ideas come second.

When creating he thinks outside of the box – for example he looked at a painting (‘Christ mocked’ by H. Bosh) as a composition and fed this composition into the design. He understands light and its effect on the spaces. When the process is too easy, he thinks it is wrong – he believes design process has to be difficult to be exciting.

Brief is sanctity for Frank, meeting the brief is the priority for him. Frank absorbs what client says – not only the words, but also the atmosphere around them and the whole mood in the room, the smell, the light… Then he comes up with the model.

He also looks at the context, the surroundings and decides how the new design will act in response to pre-existing buildings. For example, Walt Disney Concert Hall’s shapes relate to those of Chandler buildings next door. Disney Hall structure is ‘broken into smaller pieces’ to give it own identity.

References:

Sketches of Frank Gehry. (2005) Directed by Pollack, S. [YouTube] At:  https://www.youtube.com/watch?v=prdug_iuiFQ (Accessed 07/07/2021)

Manifesto by Frank Gehry (2017) [Online Video] At: Manifesto by Frank Gehry on Vimeo (Accessed 07/07/2021)

Unit 2, Part 1, Exercise 5.3: Person – Space – CONTEXT

I chose spectacles case from the previous exercise.

Fig. 1 – Fig. 4 shows my object laying or standing on side. It occupies space, defines the windowsill below it by simply sitting on it and casting a shadow. It also contains space that is invisible in this setup, nevertheless I know it is there. Also, space contained between the windowsill and curved / lifted of the ground edges is worth mentioning.

Fig. 1 Laying on the bottom.
Fig. 2 Standing on the back.
Fig. 3 Laying on the top.
Fig. 4 Standing on the front.

Fig. 5 and 6 show the open case. Here the items are containing the space and defining it in similar but more obvious way than in fig. 1-4. The ways are more visible because the angles are sharper. Fig. 5 is 50/50 containing and defining the space. Fig. 6 is more containing that defining but still does both. The inside is containing, the outside is defining.

Fig. 5 Open Upwards.
Fig. 6 Open Downwards.

Reflection on the task:

It was another first for me. Perhaps that is one of the ways to look for inspiration. Play with everyday objects, position, manipulate them to enhance imagination. Fig. 6 could be a tent or a pitched roof, Fig. 1 could be a low bench, maybe even with storage. I think any object could contain or define the space, depending how we look at it. A house obviously contains space, but if you look at the exterior, the walls and roof define the space within it.

List of illustrations:

Fig. 1 Shuttleworth, A. (2021) Laying on the bottom. [Photograph] In possession of: the author: Epsom.

Fig. 2 Shuttleworth, A. (2021) Standing on the back. [Photograph] In possession of: the author: Epsom.

Fig. 3 Shuttleworth, A. (2021) Laying on the top. [Photograph] In possession of: the author: Epsom.

Fig. 4 Shuttleworth, A. (2021) Standing on the front. [Photograph] In possession of: the author: Epsom.

Fig. 5 Shuttleworth, A. (2021) Open Upwards. [Photograph] In possession of: the author: Epsom.

Fig. 6 Shuttleworth, A. (2021) Open Downwards. [Photograph] In possession of: the author: Epsom.

Unit 2, Part 1, Exercise 5.2: Person – SPACE – Context

Unit 2, Part 1, Exercise 5.2: Person – SPACE – Context

Fig 1. Three Objects

Spectacles Case:

  • Hard and smooth, very slightly ribbed on the outside.
  • Hard, durable material (plastic) covered in leather (or leatherette) on the outside.
  • The leather is creasing on the internal edges.
  • Small surface imperfection on the bottom of the case, hidden by the leather, but the bump visible in the shape of the surface
  • Thin layer of padding and soft, velvet on the inside
  • Etched logo on one side
  • Dark blue on outside and charcoal on the inside
  • Silver coloured, metal hinge on one of longer sides
  • If let to close freely the case makes a clapping noise
  • Fits on straight hand
  • The padding on the inside of the case can be lifted slightly.

Tea Infuser

  • Pug shaped, with tea infusing holes around the ‘abdomen’ area.
  • Silicone of varying thickness – thinner and flexible where the holes are, thicker and firmer in all other places.
  • Tea compartment would fit up to three teaspoons of dry tea
  • Cream in colour
  • The square design of outstretched front paws allows it to be hung on the inside of a mug.
  • Warm to touch
  • Fits in palm of hand

Hair Roller

  • Tube Shape
  • Pink, loop design nylon thread on the outside, sicks out about 3mm
  • The thread is thin and strong
  • Thread pattern grips to the hair
  • Outside makes soft noise when rubbed.
  • White, semi translucent plastic the inside
  • Ribbed design, that follows the perimeter of the circle to allow the thread attachment, interconnected by perpendicular elements that connect bot ends of the tube.
  • Slightly soft, bendable by hand
  • This item would fit in a cube with side length of index finger, height width and length seem equal.

Reflection on the task:

Interesting task it reminds me of the quote by Vicco Magistretti ‘Look at usual things with unusual eyes.’ I struggled not to describe the ‘feel’ of the objects, perhaps because I am so used to having feelings and opinions in response to objects and anything else. Also, some elements of the design were hard to describe with words, annotated drawing would have been easier.

List of illustrations:

Fig. 1 Shuttleworth, A (2021) Three Objects. [Photograph] In possession of: the author: Epsom

Unit 2, Part 1, Exercise 5.1: PERSON – Space – Context

Hannah is a 40-year-old professional baker who runs her business from home in Manchester. She is divorced and lives with two teenage sons and two cocker spaniels. She enjoys long country walks. On the weekends that her boys spend time with their dad (and the time allows) she likes to go for a day trip or a weekend in the Lake District. She is a talented baker who creates beautiful and personalised cakes and cupcakes to order. In her spare time, she tends to her garden which is her pride and joy. Whenever she can she hosts dinner parties for her close friends.

Hannah grew up in the Lake District and only moved out to Manchester as an adult. She met her husband there; they started a family and bought a house together. They got divorced in 2016 but remained on good terms. Hannah got to keep their family home located in northern suburbs. Hannah always had a passion for baking and used to work as an office manager in Manchester City Centre. When COVID-19 pandemic hit she was made redundant. She decided to use her redundancy pay to invest in a baking business. She already had all the skills – baking and business management.

In near future she would like her house extended to fit a larger kitchen and utility space. Extra space, supplies, storage, and appliances will have their space and she will have a nice family kitchen once she is finished with work for the day. Nice, new kitchen will also be a perfect backdrop for her social media material – essential for growing this type of business. Once the business has grown to a point of employing help, she would like to convert her garage to become new business premises. Later on in life, she would like to buy a second home in the Lake District – somewhere she could unwind and go for those long country walks.

Reflection on the task:

That was quite an unexpected exercise. To ‘create’ a person. At first, I created three mind maps to help me organise my ideas. Once I came up with those ‘facts’ about Hannah, I just typed it all out in the matter of minutes. It was very easy. I wonder if creative writers also draw mind maps to help them organise their ideas before sitting down to writing. It definitely helped me!

Fig 1 Now
Fig. 2 History
Fig. 3 Aims

List of illustrations:

Fig. 1 Shuttleworth, A. (2021) Now. [Digital MindMap] In possession of: the author: Epsom.

Fig. 2 Shuttleworth, A. (2021) History. [Digital MindMap] In possession of: the author: Epsom.

Fig. 3 Shuttleworth, A. (2021) Aims. [Digital MindMap] In possession of: the author: Epsom.

Unit 2, Part 1, Exercise 4: Serious Play

Model 1:

Model 2:

Model 3:

Model 4:

Reflection on the task:

I had some lego blocks so finding the material was easy. For the people I used some figures in scale 1:50 (I got them during unit 1 work). There was not a process as such apart from a bit of thinking and planning how to proceed with first layer layout. Then I just went with a flow, seeing what blocks I could put next for the design to work. I tried to make model 4 looking less chaotic by grouping the colours together, where possible

Model 1 and 2 are little ‘chaotic’ as I did them before I organised my lego blocks by size, after wich I built model 3 and 4.

At first I did not like model 1 at all, but now I really like its irregular mass. Model one could be an outdoor piece of art / place to hang out, but could also be a very interesting looking house.

Model 2 could also be a building or perhaps just a piece of art, but I am yet to come with a purpose. I have a feeling people could not sit on the ledges in a way my figure does – health and safety would never allow it.

Model 3 could be structure with elevated viewpoints on the ‘balconies’.

Model 4 could be a tiny house, a pavilion, a kiosk or a shed.

Research Task: Charles and Ray Eames.

Research Task: Charles and Ray Eames.

Fig. 1 Eames Design Process Mind Map

Charles and Ray Eames were a married couple who started working together in 1941 and revolutionised American interiors with their practical and playful designs. Charles trained as an architect and Ray as a painter, but the scope of their work went far beyond their professional training. They were always working as a team, Charles often creating the design and Ray embellishing it, making it attractive. They were active in the chauvinist era and Charles always made sure he recognised his wife’s input and stressed how the designs were the work of both, not just his. Their process involved repetitions of many steps, going backwards and forwards until the solution was found. Their mission statement said, ‘We want to make the best for the most for the least.’ It sums up they wanted to deliver quality, affordable, mass produced goods, that anyone can have.

Play was an important part of their processes. They must have realised that letting go and just playing let their creative juices flow.

In the Design Q&A Interview Charles Eames described their design process as solution to problems, response to the need. He also mentions drawing on precedent work as necessary tool. He considered design usually to be a result of group work.

I admire them and their work, the whole story of their lives, how they first came to establish the Eames Office (funds came from government contract – they solved a problem for the army during WW2 by designing plywood splints that were lighter than metal and didn’t use this valuable during conflict years material), how they worked together and how through play and hard work created so many iconic pieces.

I think the important part in all this for me is the realisation how important the ‘play’ in design is and to get lost in the ‘play’ tasks coming up. Also, to recognise the need and then repeat the design process steps as many times as necessary, until it works and the problem has been solved.

List Of Illustrations:

Fig. 1 Shuttleworth, A (2021) Eames Design Process Mind Map. [Digital Drawing / Mind Map] In possession of: the author: Epsom.

Ostroff, D. (2016) ‘Why did Charles and Ray Eames Make Models’ At: Why Did Charles and Ray Eames Make Models | Eames Office (Accessed 04/07/2021)

 ‘The Eames Creative Process’ (2016) [Online video] At: The Eames Creative Process – YouTube (Accessed 04/07/2021)

Cook, W. (2017) ‘Charles and Ray Eames: The couple who shaped the way we live.’ In: BBC Culture 18/12/2017. At: Charles and Ray Eames: The couple who shaped the way we live – BBC Culture (Accessed 04/07/2021)

Sorene, P. (2017) Charles Eames’ 30 Answers To ‘What Is Design?’ (1969). At: Charles Eames’ 30 Answers To ‘What Is Design?’ (1969) – Flashbak (Accessed 04/07/2021)

‘Design Q & A with Charles Eames’ (2011) [Online video] At: Design Q & A with Charles Eames – YouTube (Accessed 04/07/2021)

Exercise 3: Repeating the process

I explored the idea of a house.

In Drawing 1 I tried to explore all aspects I included in my written mind map, including even the maintenance. In Drawing 2 I decided to concentrate on spaces, I was happy with my drawings. However, I decided to make the whole arrangement more uniform by drawing thicker frames around my spaces.

It was a good practice of quick sketching of ideas in plan and elevation. I enjoyed ‘fine-tuning’ my mini drawings with details such as tiles, floor surfaces or wooden kitchen counter surface. I think I starting to get the wood texture in drawings.

As I was about to upload this post, I decided I wanted to mark sources of light with yellow, and highlight windows, mirrors, and glass with blue colour. I think the whole arrangement looks more ‘alive’ with these small splashes of colour here and there…

Fig. 4 Repeating the process, Drawing no 4

List of illustrations:

Fig. 1 Shuttleworth, A. (2021) Repeating the process, Drawing no 1. [Digital Drawing] In possession of: the author: Epsom.

Fig. 2 Shuttleworth, A. (2021) Repeating the process, Drawing no 2. [Digital Drawing] In possession of: the author: Epsom.

Fig. 3 Shuttleworth, A. (2021) Repeating the process, Drawing no 3. [Digital Drawing] In possession of: the author: Epsom.

Fig. 4 Shuttleworth, A. (2021) Repeating the process, Drawing no 4. [Digital Drawing] In possession of: the author: Epsom.

Exercise 1: What is your creative or design process?

Exercise 1: What is your creative or design process?

It is really hard to get the process written down since I haven’t been through a creative process much yet.

It is a linear process, but it goes back to certain tasks, many of them are repeated multiple times. I believe it would be an infinite process if not for a deadline. Also, I think the process can change depending on the project, if I have done something using similar materials, or same area, type of building then I would add drawing from my own work there too… The most important in my opinion fact is that you go back to previous tasks as needed, sometimes you need to take a step backwards to be able to move forward…

It is really hard to get the process written down since I haven’t been through a creative process much yet.

It is a linear process, but it goes back to certain tasks, many of them are repeated multiple times. I believe it would be an infinite process if not for a deadline. Also, I think the process can change depending on the project, if I have done something using similar materials, or same area, type of building then I would add drawing from my own work there too… The most important in my opinion fact is that you go back to previous tasks as needed, sometimes you need to take a step backwards to be able to move forward…

Louis Vuitton Maison in Seoul by Frank Gehry

Fig.1 LV Maison Seoul – shop front.

Brightly lit, multi stepped glass add on / retail display attached to a cubic shaped building.

The visible materials used are glass, curved glass, steel window frames and grey cladding.

The illumination from within the shop and on the brand signs is in perfect unison.

The plain colour palette makes the vibrant, colourful interior and display elements pop out through contrast.

I read a little bit about this project and the design relates to another Louis Vuitton building designed by Frank Gehry (Foundation Louis Vuitton in Paris) and traditional Korean architecture.

When I looked at the photo for the first time, all I knew was that it’s a LV shop.

And at the time I saw a dress in the shape of the glass extension – the strapless, classic dress that has a tiny, wavy skirt attached around the hips.

I wonder if fashion inspired Frank Gehry too… I wouldn’t be surprised if it did, it is a high fashion shop.

I really like the contrast between the original and elegant shape and the pops of colour within it.

List of illustrations:

Fig. 1 Joon Choi, Y (2019) Louis Vuitton Manson Seoul [Photograph] At:

https://static-dezeen-com.cdn.ampproject.org/ii/AW/s/static.dezeen.com/uploads/2019/11/frank-ghery-louis-vuitton-maison-seoul-architecture-photos-yong-joon-choi_dezeen_2364_col_5-1233×1537.jpg (Accessed 22/06/2021)

References:

Astbury, J (2021) Frank Gehry crowns Louis Vuitton Maison Seoul with glass sails. At: https://www.google.co.uk/amp/s/www.dezeen.com/2019/11/25/louis-vuitton-maison-seoul-frank-gehry-peter-marino/amp/ (Accessed 22/06/2021)

Exercise 1: What do you want / need from the course unit?

  • In Unit 1 I went through a design process, but each step was undertaken once and in specific order. The process was not complete. I want to understand and develop my own design process order.
  • In Unit 1 model making was a bit hard as it was completely new to me. I want to get more experience at model making and researching materials necessary for those tasks.
  • I want to broaden my research skills in a way that I can concisely present my finings in a professional way.
  • I want to expand my creativity so I can design a unique, beautiful small dwelling at the end of unit 2.
  • I want to improve my hand drawing and IT skills, so they don’t stand in the way of my creativity.

Reflection on my tutor’s feedback (Part 5 and Assignment 5)

I consider my recent feedback to be a very positive one, I received a lot of praise from my tutor with only a few things to reconsider.

My tutor noted that my skills and confidence improved throughout unit 5. She also complimented me on thoroughness, attention of detail and amount of work I put in. 

My observation that software knowledge is a tool to enable creativity was correct. 

My tutor noticed that I took on board her previous comment about reworking a design which resulted in great progress. 

My research was in depth and on topic. I observed relevant points and described them in a way that my tutor approved. Acknowledging the view of my pavilion from the racecourse showed my consideration of the design from all aspects. 

My tutor noticed that certain examples from my precedents feed into my design, but I had practical aspects of my location in mind. My tutor said it was the point of the precedent research: to inspire my design and it happened in this case. I got a ‘well done for speaking to suppliers’ as they are an invaluable source of knowledge on materials and their processing.

My tutor especially liked my cardboard pavilion model with scale people. She mentioned that making a quick model helps understand the design better, especially if I am stuck on drawing phase. Model gives 3D dimensions, and I can physically see how things go together and look from different aspects. Making my final model certainly helped me to understand what I want and what I do not want in my design and really aided my understanding of side elevation of my pavilion.             

 My software skills are improving (Adobe fresco and photoshop) and continued experimenting with them is encouraged. My tutor particularly liked my pavilion drawing that I did for materiality exercise. Sadly, I lost some of the designs elegance when I was making dimensions decisions as I was worried about sturdiness of the structure. It seems that as I am improving with creative software my creativity improves as well. Additional drawing exercises (such as life drawing) will help me to ‘see’ as drawing is about the ability to observe. My tutor noted that adobe fresco seems to be working for me. I think it is because of ease of selecting colours exactly as intended and erasing errors does not leave ugly marks as it would on the sheet of paper. Also drawing over images (such as a picture of my model for amended visual) helps me get drawings more correct. Therefore, the outcomes seem more elegant. I continue discovering new features in the program as I go along. I really enjoy digital drawing, more than by hand.

I received some pointers for the future. When designing the public space, I should include all users (e.g., incorporate wheelchair turning point, make sure my entrance is wide enough and seating at correct height). Now I know minimum wheelchair turning circle has diameter of 1500mm. Internal diameter of the bottom ring is 1600mm in my design, and it is a little tight, especially if we consider another user (or a bench) that may be inside. My tutor made a comment about my seating being too high, but that was intentional, like ‘lean on’ benches we see at bus stops. I did not feel there was enough space in the interior to have a bench, also people seating down take even more space than standing/ leaning. It all must be reconsidered as I am not sure if aging population will be comfortable leaning back on something that is not next to a secure wall. The point of this bench was so people could lean on it and gaze upwards while inside my pavilion.

My technical drawings start to look and feel as professional drawings.

I was reminded to add ground line to elevations (so they are not floating in space). My tutor also advised me to annotate the technical drawings. There is plenty of space around and people rarely look at the title block, so I included some additional information and added them to my section drawings.

My tutor suggested to try and take photos of the interior of my model, to show users interior view. It was a little awkward to get the camera in but not impossible. What a great piece of advice!  

My tutor said that she enjoyed my final visual, but my site photo choice was not the best as the red bin was stealing the attention. I redrew my pavilion from different perspective (using adobe fresco over a photo of my model) making the beams more slender and placed it on a different photo from my previous site research. I absolutely agree with my tutor, this visual is better at ‘selling’ the design.

My tutor said my level of reflection is ‘really good as it shows my critical and measured approach’. It is great that I was already suggesting alternative designs when I was not too happy with all aspects of my design. I had also been told to not be too hard on myself, as I am just starting my learning journey.

My tutor mentioned I correctly reflected on jumping back and forth between tasks in design process, she said I will experience it again in next part of the course. I am excited to be starting next unit soon.

Assignment 5 Part 5 Reflection

Part 5, finally finished. It was the toughest so far. Because it was hard, I learnt a lot. For example, doing each part of the design once is not enough. I should have allowed more time and repeat some parts of the process. At each step you discover that you need to redo something at previous step. I feel my design is unfinished. If I were to have my pavilion built, I would have to go back and refine the details (such as wire placements and perhaps review wire attachments and the shape of the entrance). I also could have drawn the rings as bent slices of wood. I realise that the rings could not be infinite circles, yet I did not include the arch connecting detail in any of my drawings. There are other mistakes I noticed that I mentioned in my blog. Yet it took so long to draw all these details. Nevertheless, I am pleased with the outcome. I am very new to this, and my design skills fell victim of my imagination. I think it is brilliant I came out with a difficult shape; I just need to improve my drawing skills so next time there will be no shortfalls. On top of that I need to improve my time management skills and plan better in future.

Exercise 3.4 Design Communication – Development Document

Reflection on task:

It is first time I had to do a design development document. I believe this is something I could show my client, so they understand the design.

I am not sure if this is correct format or information, but I hope so.

The process of selecting most important pieces was enjoyable.

List of illustrations:

(All images used previously used in my learning log unless specified below)

Fig. 1 Hearne Hardwoods Inc. (2021) Ash. [Photograph] At: https://www.hearnehardwoods.com/wp-content/uploads/2019/01/ash_wood_title_2.jpg (Accessed 11/05/2021)

Reflection on technical drawing task for exercise 3.4, part 5, unit 1

I really like how wires on technical drawing on screen convey ‘moire’ effect I had in mind. It would look even better in shiny stainless steel in real life.

One of the most difficult and satisfying tasks in this exercise was drawing the top rings in side elevation. It took some time to work out what it should look like.

The entrance in plan view was also really tricky. Initially it looked like this:

I realised that I never included the material of legs – it’s stainless steel.

I’m afraid I encountered a ‘design fail’ in my technical drawing. Side elevation wires have a gap that is not attractive. To fix that I would need to change the design of the entrance and/ or positioning of the wires. Unfortunately time restraints did not allow it. I feel I should have discovered it at previous exercise (design development). Someone once said that design development can go forever and I think I have a perfect example here. If I had a time restraint like this in ‘real’ design life, I would probably submit what I have to the client and propose the following versions around the entrance.

I particularly like version 2. The entrance is circular in the top and goes straight down the sides (rather than narrowing like in original design). I think wires in ray like position would give even better moire effect as well.

Another solution would be to do what I did in model building. I attached the wires to the back of the entrance and therefore they went ‘lower’ on the frame.

During the process of technical drawing I decided that some of the wires attachments around the entrance would be different to the rest of them. I opted for a different mount, a vertical type, that would have to be installed at the same angle that the wire meets the frame.

It’s all very complicated and I feel that more research and development work is needed.

I also realise I didn’t do all wires as I should have. I.e. I didn’t use guidelines to place them on relevant spots on the frame. Instead I just spread them evenly in elevation views even though it would not look like that. They would be closer together towards the edges of the view and further apart in the centre of the view. It took such a long time to draw and position all the wires. I think I spent around 40 hours on technical drawing task. I was thinking lines, I was dreaming lines… I kept thinking of contextual study about lines from previous exercise. I was very grateful for the existence of guidelines, without them this task would have been impossible.

I feel I should have started with ‘rough’ technical drawing, followed up by scale model building and then refined technical drawing.

I think in design work you would normally jump back and forth between such tasks as you refine the design. Here I did them once and in specific order.

Exercise 3.4 Design Communication – Scale Model

I built my model in scale 1:20. I used model foam sheets, wood sticks, white thread, dowels sharpened with pencil sharpener. At first I was using removable glue dots to ensure right proportions and stability of the frame. Later on I used super glue to make it more rigid. I painted all wood elements with white spray paint.

I imported some of my iPad people drawings on to cad and scaled them to be approx 1650mm high, then I printed them in scale 1:20 and attached to pieces of cardboard.

The process of building this model was not easy. I chose such a complicated shape! I had to research model building materials, tried balsa wood (difficult to cut neat circles without specialist tools) and metal wire for wires (difficult to position without piercing the foam).

I’m happy with my model, despite it being a bit rough around the edges. I can think of two ways my model could have been neater:

1. Creating a 3d version of it in software and the printing it on a 3D printer. This option also wouldn’t inform me how each piece relates to other pieces.

2. Getting specialist model building electric tools and building the whole frame from wood.

Both of these options were outside of my already overstretched budget.

Exercise 3.3 Design Development


I believe I started this exercise when creating my drawing for materiality sheet.
I opened one of my previous hand drawings in Adobe Fresco app and started drawing on top of it. Here is the process: (Fig. 1 – fig. 6)


As in this exercise I am meant to look at function and whether the size is big enough I had to work out my initial design into maximum dimensions required. So I looked at my brief again and worked out I would like the biggest circle diameter to be 3300mm which fits within 9m2. Then I worked out my head room in the doorway to be 2200mm in the tallest point. It is quite tall for the door but I need to have in mind that it will be lower to the sides.

I set maximum height at 5900mm giving me 100mm space just in case I later decide to create base for the pavilion.

I drew these dimensions in cad, including 200mm beam thickness for reference. I then saved it as a .jpg and imported to a drawing app on my iPad.

I drew and experimented with the front elevation view of my pavilion.
I even created one with background (by drawing over a photo of relevant view) and one with shadow (even though usual elevation drawings would not include it).
(Fig. 7 – fig. 26)


Then it was time to move to side elevation. (Fig. 27 – fig. 30)

It was really tricky as the top ‘ring’ is at an angle (I’ll let cad tell me later what angle this is) therefore it cannot be just flat rectangle in side view. The entrance was also really tricky. As I’m typing it up I can see that side view with entrance facing left contains quite a few errors. Such as the beam not reaching to ring in correct place and top ring positioning and angle in general.

That is something I’ll correct when completing technical drawing for my design.

I think I best work out details of that when drawing technical in cad later on.

Then I moved to drawing back elevation. It was simple to do by drawing over front elevation with only major difference being the angle of top circle and front/back reversed (Fig. 31 – fig. 32)

After that I needed to workout my rings diameters. I already knew that the largest, middle ring will have external diameter of 3300mm and internal 2900mm.
I needed to work out other diameters.

I used the image of front elevation drawing with visible cad guidelines. I cropped it as close to external rectangle of guidelines and then inserted the image into cad. I then resized the image to fit into a 3300 x 5900mm box. From this point I was able to roughly (but still fairly accurately) work out my other rings diameters by drawing and measuring lines on them.

After that I was able to place the rings on my floor plan drawing.
I centred them in the same spot (for even weight distribution and stability of my structure).
I’m not sure if I should have pictured top ring (smallest one) as a slight oval because it’s angled. I find it really confusing.
I can use the similar way later in CAD (or even by hand) to work out the angles in my pavilion.
At this point I’m starting to think that it may be easier to build a model in cad (or perhaps real life model will help me enough) (Fig. 33)

Fig. 33


Drawing the entrance in plan view has been quite tricky, a semi ring at an angle! I think oval represents it better (Fig. 34 – 35)

Fig. 34 – 35

The lowest ring (middle one on the plan) will be at knee level and will be the most space restricting feature. I worked out its internal diameter at approximately 1600mm. It took me a some time to work out if it is enough to move around. In the end I measured my outstretched arms span and it is almost the same. So I was able to imagine that it would be enough space at knee level for two people. The place will feel roomier than that as the diameter widens until it reaches 2900mm internally at the largest ring level which is way above average eye line. I am not sure if I should include any seating. Perhaps a small two person bench opposite the entrance (if any).

Exercise 3.2 Materiality – further information and changes

I have been doing a lot of thinking about how my pavilion will be put together. I called Honeysuckle Bottom Sawmill and they said you cannot bend thick pieces of wood and that they don’t provide curved braces (despite their website saying otherwise).

After this news I was thinking of other ways of creating wooden circles for my structure. I found a local furniture restoration company and I spoke to the owner who has wealth of experience in steam bending wood.

He advised me that it is not possible to bend thick pieces of timber. For my thickness of 200mm x 200mm he would slice them lengthways into 1mm slices and then steam bend and then laminate them together. I asked about drilling and attaching things to the laminated side (top being plane of wood, side where you see slices). I found out it should not be a problem.

He also said that oak is not the best choice for bending and that ash is much more suitable for this purpose. I decided to change my wood choice to ash following his advice.

I am a little worried about the context. I selected oak for reasons specified in my Materiality sheet and gave all the reasons why… Ash is a local tree, I have one (according to a tree surgeon) at the bottom of my garden…

References:

Handsome & Co: School of Fine Woodworking & Design (2021) Timber bending services. At:  Handsome & Co. | Timber bending services. (handsomeandco.com) (Accessed 12/04/2021)

Biggs, T (2021) Steam Bending Wood. At: Tobias Biggs Furniture Restoration – Home (Accessed 12/04/2021).

Peckham Jewellery Pad Box Design / Leading to title box in AutoCAD

In late 2020 I needed to make a drawing for our carpenter to build these boxes at work. Normally I would just give him one but we need them daily and they started to fall apart. So I decided to practice my new skills and draw what he needs to do.

This along with photos of the old box were explanatory enough for him to build them to my specification.

The images above are of final version. After I gave the contractor the initial drawing, I was asked what is the error margin. I did it with comments on maximum an minimum dimensions that were important for the design to work (I needed to measure the space in storage for these boxes and the jewellery pads to ascertain this). In the mean time I created CAD drawing based on one of the former measurements (just for fun and practice of it).

Today I was trying to work out how to create and insert title box, I decided to work on my old Peckham Box drawing. Here it is, a CAD drawing with title box.

Peckham box CAD drawing with title box

Here is what the old box looks like:

I am still awaiting new boxes for Peckham, in the meantime had some built for another shop. I was pleased my drawings were sufficient to make something.

Exercise 3.2 Materiality

Notes etc.

Exercise 3.2 Materiality

Oak – durable and beautiful wood. It refers to local area. There are English oaks growing in local woods. According to Woodland Trust English Oak is ‘the 2nd most common tree variety in the UK and a national symbol of strength.’ I would like to use this traditional material as a nod to the local aging community, who will hopefully appreciate its nobility. The wood can be used for outside projects, and it will be very durable if it is properly treated. I would like to treat the oak frame with a clear, UV protecting oil that will show of the natural colour and pattern of the wood. I presume I will have to choose fresh sawn oak (also called ‘green). It will need to be weathered for 6 weeks before applying oil. I would like my structure to be sustainable and durable so the treatment will need to be repeated periodically.

I found a local supplier called Honeysuckle Bottom Sawmill (http://www.surrey-oak.com/) who supply the wood and bespoke curved braces to curve the timber to project specifications. Their products are sustainably and locally sourced. They even supplied wood to film sets.

Fig. 1 Shaped or curved beams

Stainless steel – an alloy composing of chromium and other metals. Chromium reacts with oxygen creating a protective film. Stainless steel is strong, low maintenance, corrosion resistant, sustainable, recyclable (does not deteriorate through recycling), aesthetic and functional. I chose it for its appearance and suitability for an outdoor project.

The wires are simply surface mounts and balustrade wires. They are made to measure and supplied by S3i Group (located in the UK). The ball and socket design allows up to 42 degrees angle.

Fig. 2 Surface Mount Balustrade Wire
Fig. 3 Balustrade wire passing through an intermediate post.

The components I used – wood and metal wire are a high-end nod to farm fencing. It has a loose connection with horses on Epsom Downs and the fact the local area used to be a farmland not so long ago. The warmth of natural oak should provide comfort for users and the wires add interest without spoiling the view.

List of illustrations:

Fig. 1 Honeysuckle Bottom Oak (2021) Shaped or Curved Beams. [Photograph] At: http://www.surrey-oak.com/wp-content/uploads/2017/12/curved-oak-beam2-400×400.jpg (Accessed 23/03/2021)

Fig. 2 S3i Group (2021) Surface Mount Balustrade Wire. [Photograph] At: https://www.s3i.co.uk/image/s3i/B&Sassembly-with-text-and-diagram.jpg (Accesses 28/03/2021)

Fig. 3 S3i Group (2021) Balustrade wire passing through an intermediate post. [Photograph] At: https://www.s3i.co.uk/image/s3i/runningthrough2.jpg (Accessed 28/03/2021)

References:

Honeysuckle Bottom Oak (2021) Welcome to Honeysuckle Bottom Oak. At: Oak Sawmill in Surrey » www.surrey-oak.com (surrey-oak.com) (Accessed 23/03/2021)

S3i Group (2021) Self Assembly Wire Balustrade Kits, Tube Mount. At: Balustrade Wire Kits | Tubular Mount | S3i Group (Accessed 28/03/2021)

S3i Group (2021) Stainless Steel Surface Mount Balustrade Wire. At: Surface Mount Balustrade Wire, Made To Measure | S3i Group (Accessed 28/03/2021)

Tyssenkrup (2021) Properties of stainless steel. At: Properties of Stainless Steel & Applications – thyssenkrupp Materials (UK) (thyssenkrupp-materials.co.uk) (Accessed 28/03/2021)

Wood Finishes Direct (2021) Osmo UV Protection Oil Extra At: Osmo UV Protection Oil Extra | Exterior Wood Protection (wood-finishes-direct.com)

Woodland Trust (2021) Oak, English. At: English Oak (Quercus robur) – British Trees – Woodland Trust (Accessed 23/03/2021)

Drawing people continued

I continued drawing digitally over a template. In the last drawing I tried to change pose slightly to the template. I wanted the figure to look more likely to be in an interior so I added a drink. Hands and feet are still very tricky. Life drawing seems much easier when you see the body you draw. This time I also experimented with just silhouettes. I watched some videos on how to draw people in architecture and tried to draw a general silhouette afterwards. Still a lot to learn, but it’s an enjoyable journey.

Additional drawing exercises

My tutor suggested to practice drawing people. I felt particularly inspired after recent oca life drawing session. I also wanted to experiment more with new drawing ‘gear’ I got recently.

I downloaded an image of female body proportions, made it less opaque and drew over it in another layer. I believe if I keep drawing this way I will get the hang of the proportions. Hands and feet are still very tricky, but the guides helped a lot. Third figure, at a slight angle seems to be the most useful for interior design visualisations. I realise this body type may not be most representative, or inclusive, but I’ll get to those later, when I understand proportions better.

I also watched ‘Life drawing live’ on bbc catch up and attempted the last pose (19 mins). Below is my brave attempt.

Exercise 3.1: Concept Development

I completed my drawings using automatic 0.9 pencil, HB. I just love how the pencil glides on paper.

I looked at my drawings from previous exercise and decided to go in that direction. First, I played with the shape of the entrance (Fig. 1).

Fig. 1

Then using tracing paper I redrew them with shaded entrance option, I liked rounded option most and the bigger drawing was my last drawing on this page. (Fig. 2)

Fig. 2

I quite like the rounded, shaded entrance but after drawing it in side elevation I did not like it as much (Fig. 3).

Fig. 3

Using tracing paper, I drew the shape again, but this time with more simple entrance (fig. 4). I felt like the shape of my pavilion is somehow inspired by ‘Gherkin’ building in London.

Fig. 4

As much as I was happy with proportions and aesthetics of my design I kept worrying that for it to be translucent and light it would have to be made either of glass (heavy and expensive) or pvc (unsustainable and also pricey). Also, I was afraid that on a warm day it would turn into a ‘glass house’ despite many gaps and opening in the roof.

It took me a while to come up with the next design (Fig. 5 & 6). Funnily enough it was Peckham Library pods that inspired me. The three legs and rounded shape are ‘borrowed’ from there. I have not decided what material it will be yet. There are some options that I will explore further in next exercise. Using string as in Oasis Pavilion may be an option, I found that interior very peaceful.

Fig. 5
Fig. 6

I loved using tracing paper in this exercise. It made it quite easy to repeat the proportions that I wanted to keep.

Lastly, I decided to photograph my model with some scale figures (Fig. 12). As ‘tried them on’ I realised the supporting columns are too high, so I shortened them. Now sadly the entrance is a little lower than I would have liked, but this is just my first model and I think it shows my idea well.

Fig. 12

To me this whole task was the most difficult so far. It is hard to think of the design but only concentrate on one aspect of it. I keep thinking about the materials, the brief does not specify whether it will be a permanent or temporary structure… We also have no budget (which may be a good thing at this stage). It was interesting to see how I came from my first drawing in Exercise 2.3 (https://aggievideoblog.files.wordpress.com/2021/01/fig.-1.jpeg) to this model.

Exercise 2.3 Initial Concept Proposals

Fig. 1 Fluidity of the shape.

I looked at my work so far and felt particularly inspired by my soundscapes mapped drawing (https://aggievideoblog.files.wordpress.com/2020/09/fig.-4a-soundscapes-mapped.jpeg?w=1024). I struggled to draw what I had in mind, so I decided to make a model. I especially like shade cast by this model.

Then I thought what it would be like inside. So I placed my model over a tablet with a photo of the sky. That would be the view inside – upwards.

I realised that shape was not practical for my pavilion. The gaps on the sides would take too much of the maximum 9m2 footprint, so usable interior space would be too small. I do not consider creating this model a waste of time as it inspired me further and I started ‘doodling’ some ideas.

The idea is a rounded structure on an oval shaped plan. The structure narrows as it goes up, with a large circular opening in the roof and gaps between sheer components of the walls. The oval shape refers to the Tattenham corner sharp bend in the racecourse, the large opening in the roof is inspired by James Turrell’s work but also by precedent examples I studied (especially Serpentine Summer House and Oasis Pavilion). The sheer of the walls is inspired by Oasis Pavilion and the overall shape by cones on the Wicker Pavilion. I think the Wicker and Oasis Pavilions were the most peaceful from my precedent examples. I believe drawing inspiration from these will aid the function of my pavilion which is supposed to be a resting place for aging community. I decided to go for shades of green which is a naturally calm colour and further refers to the green surroundings of my pavilion and grass covered Epsom Downs racecourse nearby. The shape of my pavilion has been is also inspired by my drawing of the bush in form & light drawing. (https://aggievideoblog.files.wordpress.com/2020/09/fig.-6-form-light.jpg?w=1024)

The last drawing in Fig. 13 specifies approximate dimensions, entrance and seating.

List of  illustrations

Fig. 1 Shuttleworth, A. (2020) Fluidity of shape. [Abstract drawing] In possession of: the author: Epsom

Fig. 2 Shuttleworth, A. (2020) Soundscapes model 1. [Photograph] In possession of: the author: Epsom

Fig. 3 Shuttleworth, A. (2020) Soundscapes model 2. [Photograph] In possession of: the author: Epsom

Fig. 4 Shuttleworth, A. (2020) Soundscapes model 3. [Photograph] In possession of: the author: Epsom

Fig. 5 Shuttleworth, A. (2020) View Upwards [Photograph] In possession of: the author: Epsom

Fig. 6 Shuttleworth, A. (2020) Doodle 1 [Drawing] In possession of: the author: Epsom

Fig. 7 Shuttleworth, A. (2020) Doodle 2 [Drawing] In possession of: the author: Epsom

Fig. 8 Shuttleworth, A. (2020) Idea Development 1 [Drawing] In possession of: the author: Epsom

Fig. 9 Shuttleworth, A. (2020) Idea Development 2 [Drawing] In possession of: the author: Epsom

Fig. 10 Shuttleworth, A. (2020) Idea Development 3 [Drawing] In possession of: the author: Epsom

Fig. 11 Shuttleworth, A. (2020) Idea Development 4 [Drawing] In possession of: the author: Epsom

Fig. 12 Shuttleworth, A. (2020) Idea Development 5 [Drawing] In possession of: the author: Epsom

Fig. 13 Shuttleworth, A. (2020) Idea Development 6 [Drawing] In possession of: the author: Epsom

Exercise 2.2: Precedent Studies, Example 4: Serpentine Summer House by Barkow Leibinger.

Serpentine Galleries Architecture Programme was expanded by additional four summer houses in 2016. Serpentine Summer House was one of them. It was located in London’s Kensington Gardens and was designed by Berlin studio; Barkow Leibinger.

Fig.1 Serpentine Summer House 1

In above image we can see the striking shape of structure in place of the roof. It has very fluid shape and openings on top allow plenty of gentle light in. The whole structure consists of curves, even the benches have unusual shapes. I think that sort of filtered light could aid relaxation in my pavilion.

Fig. 2 Serpentine Summer House Vision.

In the above image we can see the fantastic shapes implemented in the roof structure. The user looking up will be able to see the sky without being blinded by direct sunlight. I really like that idea. I also like the semi-openness of the structure. I think I could be able to think of something similar in my much smaller pavilion. The material used is plywood, I think that may not be my first choice of material as it would not be very durable in an outdoor setting. I think using limited materials and colours aids the relaxing atmosphere of the interior.

List Of Illustrations:

Fig. 1 Baan, I (2016) Serpentine Summer House 1. [Photograph] At: portada_barkow_leibinger_-_photo_c_iwan_baan_3.jpg (1496×1000) (adsttc.com) (Accessed 25/11/2020)

Fig. 2 Barkow Leibinger (2016) Serpentine Summer House Vision [Visualisation]. At: barkow-leibinger-serpentine-gallery-summer-houses-2016_dezeen_1568_4.jpg (1568×1120) (Accessed 25/11/2020)

References:

Archdaily (2016) Serpentine Summer House / Barkow Leibinger. At:  https://www.archdaily.com/790032/serpentine-summer-house-barkow-leibinger (Accessed 25/11/2020)

Frearson, A. (2016) Serpentine Summer Houses include looping wooden pavilion and inverted replica building.  At: https://www.dezeen.com/2016/02/24/serpentine-gallery-pavilion-summer-houses-2016-kunle-adeyemi-barkow-leibinger-yona-friedman-asif-khan/

Exercise 2.2: Precedent Studies, Example 3: Wicker Pavilion by DJA

The Wicker Pavilion has been built as a part of Annecy Paysages landscape architecture festival in 2020. The structure is in Gardens of Europe, Annecy, France. It was designed by a Latvian firm – DJA (Didzis Jaunzems Architecture). The wicker baskets have been handwoven by Latvian craftsmen. The look of the pavilion will evolve with its age, becoming darker, grey in colour.

The overall form of the structure is rounded and organic. The structural elements and wicker baskets cast beautiful, geometrical patterns on the lawn below. The structure is semi open but the pattern on the ground sets boundaries of the zone – I like that. The simplicity of the materials and colour would aid the purpose of relaxation as well.

Fig. 1 Wicker Pavilion.

The pattern of interior makes it look busy, but in a beautiful way. I can certainly sense some movement there. We can also see how the arched opening is framing the beautiful view outside, I am sure the positioning of the pavilion has been carefully considered by the architects to get the best views. This is something I would like to achieve in my pavilion – a peaceful, relaxing space that is not only beautiful but also taking advantage of beautiful surroundings.

Fig. 2 Wicker Pavilion – View Through The Arch

The repetition of simple patterns (triangles on the frame, rectangles on the baskets and circular openings on top) aids the sense of movement in the interior. The round openings in the ceiling remind me of James Turrell’s work. The semi-transparent structure casts a soft shade, inviting the user in, on a hot day.

Fig. 3 Wicker Pavilion – Towards The Sky
Fig. 4 Wicker Pavilion – From Above

The shape and form of this pavilion reminds me of a giant hedgehog.

Fig. 5 Wicker Pavilion – Aerial View

List of Illustrations:

Fig. 1 Bozis, E. (2020) Wicker Pavilion. [Photograph] At: https://images.adsttc.com/media/images/5f1f/71f7/b357/653f/3b00/0322/slideshow/Wicker_Pavilion-07.jpg?1595896293 (Accessed 11/11/2020)

Fig. 2 Bozis, E. (2020) Wicker Pavilion – View Through The Arch. [Photograph] At: https://images.adsttc.com/media/images/5f1f/7222/b357/653d/3a00/04f2/slideshow/Wicker_Pavilion-09.jpg?1595896337 (Accessed 11/11/2020)

Fig. 3 Bozis, E. (2020) Wicker Pavilion – Towards The Sky. [Photograph] At: https://images.adsttc.com/media/images/5f1f/724c/b357/653d/3a00/04f4/slideshow/Wicker_Pavilion-11.jpg?1595896378 (Accessed 16/11/2020)

Fig. 4 Bozis, E. (2020) Wicker Pavilion – From Above. [Photograph] At: https://images.adsttc.com/media/images/5f1f/717b/b357/653d/3a00/04ee/slideshow/Wicker_Pavilion-03.jpg?1595896169 (Accessed 16/11/2020)

 Fig. 5 Bozis, E. (2020) Wicker Pavilion – Aerial View. {Photograph] At: https://images.adsttc.com/media/images/5f1f/7143/b357/653f/3b00/031d/slideshow/Wicker_Pavilion-02.jpg?1595896116 (Accessed 16/11/2020)

References:

Annecy Paysages (2020) ‘Wicker Pavilion.’ At: http://www.annecy-paysages.com/en/wicker-pavilion-2/ (Accessed 16/11/2020)

Ebert, G. (2020) ‘Sunlight Filters Through a Shell-Like Pavilion Covered with Wicker Baskets in Annecy, France.’ At: https://www.thisiscolossal.com/2020/08/wicker-pavilion-annecy-dja/ (Accessed 16/11/2020)

Katsikopoulou, M. (2020) ‘DJA introduces triangular wicker mesh pavilion in france, woven by latvian craftsmen.’ At: https://www.designboom.com/architecture/dja-triangular-wicker-mesh-pavilion-france-latvian-craftsmen-08-17-2020/ (Accessed 16/11/2020)

Pintos, P. (2020) ‘Wicker Pavilion / DJA.’ At: https://www.archdaily.com/944591/wicker-pavilion-dja?ad_source=search&ad_medium=search_result_all (Accessed 11/11/2020)

Exercise 2.2: Precedent Studies, Example 2: Jiunvfeng Study by gad·line+ studio

Location: China, Daiyue District, Tai’an City, adjacent to the Shenlong Grand Canyon, to the west of Mount Tai. Jiunvfeng Study is overlooking Mount Tai, which is (according to Unesco) ‘the most famous sacred mountain of China, with exceptional historic, cultural, aesthetic and scientific value.’

The pavilion has been completed in September 2019 and the construction process took only 6 months. The whole process and components have been designed to make it during the summer with suitable weather allowing the built.

Fig. 1 Location of Jiunvfeng Studio

The back wall is built from local stone, I would like to use local material in at least part of my project, to aid sustainability. The structure is built from light steel. I like how part of the structure incorporates the sheltered balcony that follows the shape of the roof. I think I could make my pavilion half indoor / half balcony under the roof – necessary with a glass banister like in Jiunvfeng Study – to allow undisturbed views. The interior is lit by led strips installed above white membrane, producing even, dispersed light. I like this solution but my pavilion (if I went with this lighting option) would need a softer, warmer light to provide more cosy, relaxing space at night.

Fig. 2 Jiunvfeng Studio At Night – Balcony

The interior of Jiunvfeng Study is peaceful, predominantly white with large windows allowing unobstructed views of the mountains. I like the idea of glass wall offering the views. I suspect that shape and colour of the roof would help keeping the interior cool on a hot day. This is something I am conscious when considering my pavilion, I would like to avoid a greenhouse effect in my interior.

Fig. 3 Jiunvfeng Studio – Interior

The pavilions shape is adapted to the terrain of the location. We can see it very clearly in Fig. 4 below. ‘My hill’ is different shape but I should have the surrounding terrain in mind when considering the shape of the building.

Fig. 4 Jiunvfeng Studio – The Curve

List of illustrations:

Fig.1 ZY Architectural Photography (2019) Location of Jiunvfeng Studio [Photograph] At: https://images.adsttc.com/media/images/5dee/63dd/3312/fd2a/6a00/0574/slideshow/5_%C2%A9%E7%AB%A0%E9%B1%BC%E8%A7%81%E7%AD%91.jpg?1575904206 (Accessed 31/10/2020)

Fig. 2 ZY Studio (2019) Jiunvfeng Studio At Night – Balcony [Photograph] At: https://static.dezeen.com/uploads/2020/05/jiunvfeng-study-on-mount-tai-gad-line-studio-architecture_dezeen_2364_col_10.jpg (Accessed 09/11/2020)

Fig. 3 ZY Studio (2019) Jiunvfeng Studio – Interior [Photograph] At: https://static.dezeen.com/uploads/2020/05/jiunvfeng-study-on-mount-tai-gad-line-studio-architecture_dezeen_2364_col_13.jpg (Accessed 09/11/2020)

Fig. 4 ZY Studio (2019) Jiunveng Studio – The Curve [Photograph] At: https://static.dezeen.com/uploads/2020/05/jiunvfeng-study-on-mount-tai-gad-line-studio-architecture_dezeen_2364_col_3.jpg (Accessed 09/11/2020)


References

Block, I (2020) Gad Line+ Studio perches white cloud-like pavilion to overlook sacred mountain in China. At: https://www.dezeen.com/2020/05/08/jiunvfeng-study-mount-tai-china-gad-line-studio/ (Accessed 09/11/2020)


Gad·Line+ Studio (2019) Jiunvfeng Study on Mount Tai / gad·line+ studio. At:   https://www.archdaily.com/929883/jiunvfeng-study-on-mount-tai-gad-star-line-plus-studio (Accessed 31/10/20 20)

Unesco World Heritage Centre (2020) Mount Taishan. At: https://whc.unesco.org/en/list/437/ (Accessed 31/10/2020)

Exercise 2.2: Precedent Studies – Oasis Pavilion

Example 1: The Oasis Pavilion by OBBA

The Oasis Pavilion has been designed by a South Korean studio OBBA (Office for Beyond Boundaries Architecture). The built has been completed in July 2015. This temporary structure’s function was to provide a relaxation space for visitors to APMAP (AmorePacific Museum of Art Project) 2015. The exhibition was located in Amore Pacific R&D Center (Research and Development).

I chose this precedent due to similar function – resting place. I especially like the string curtains, their translucency, their movement. The atmosphere inside the pavilion seems serene. I think similar wall design in my pavilion would help keeping it cool on a sunny day, I must think of curtain screening (but using different material than string as the strings would get knotted in the wind).

Fig. 1 Oasis Pavilion – Exterior

The pavilion is placed outside and it seems to be getting sun all day long. It is interesting to see translucent shade created by sun entering through the circular opening in the ceiling and hitting the curtain.

Fig. 2 Oasis Pavilion – Interior 1

It looks light and peaceful. It is interesting to see the seats placed at different heights, some seem to be to high for seating.

Fig. 3 Oasis Pavilion – Interior 2

The circular opening in the roof allows the light in. It also made the whole structure less heavy allowing to use thinner supporting columns and smaller amount of them. The opening frames the sky in a similar manner to some of James Turrell’s works.

Fig. 4 Oasis Pavilion – Plan

On the plan drawing we can see how the designer intended for the space to be used. The space directly under the opening was meant for relaxing on the ground and gazing at the sky.

List of illustrations:

Fig. 1 Roh, K. (2015) Oasis Pavilion – Exterior. [Photograph] At: https://static.dezeen.com/uploads/2015/11/The-Oasis_Pavilion_OBBA_AmorePacific_South-Korea_dezeen_936_10.jpg (Accessed 11/10/2020)

Fig. 2 Roh, K. (2015) Oasis Pavilion – Interior 1. [Photograph] At: https://static.dezeen.com/uploads/2015/11/The-Oasis_Pavilion_OBBA_AmorePacific_South-Korea_dezeen_936_4.jpg (Accessed 11/10/2020)

Fig. 3 Roh, K (2015) Oasis Pavilion – Interior 2. [Photograph] At: https://static.dezeen.com/uploads/2015/11/The-Oasis_Pavilion_OBBA_AmorePacific_South-Korea_dezeen_936_7.jpg (Accessed 11/10/2020)

Fig. 4 OBBA (2015) Oasis Pavilion – Plan [Drawing] At: http://static.dezeen.com/uploads/2015/11/The-Oasis_Pavilion_OBBA_AmorePacific_South-Korea_dezeen_2_1000.gif (Accessed 11/10/2020)

References:

ArchDaily (2015) The Oasis / OBBA. At: https://www.archdaily.com/775505/the-oasis-obba (Accessed 03/10/2020)

Gibson, E (2015) Translucent curtains surround “floating” Oasis pavilion by OBBA. At: https://www.dezeen.com/2015/11/09/obba-oasis-pavilion-translucent-curtains-apmap-exhibition-seoul-south-korea/ (Accessed 03/10/2020)

Kwok, N. (2015) OBBA blurs boundaries with their floating oasis pavilion in south korea. At: https://www.designboom.com/architecture/obba-architects-amorepacific-museum-of-art-the-oasis-south-korea-10-17-2015/ (Accessed 03/10/2020)

Office for Beyond Boundaries Architecture (2015) APMAP 2015 Yongin – THE OASIS. At: http://www.o-bba.com/projects/18 (Accessed 03/10/2020)

Project 1 Reflection on site selection and analysis (Project 1 Exercises 1.2 – 1.4)

I found these exercises helpful in selecting and learning about my site.

All information I gathered was useful. I enjoyed learning interesting facts about my area. I feel that the exercise that was most beneficial to my knowledge was researching the history of Tattenham Corner. I never had much interest in horse racing so it was great to find out that Tattenham Corner is not only a village but also a bend in the racecourse. I was particularly pleased when I found the website with old aerial photos (https://www.britainfromabove.org.uk/) showing sites previous use. I must remember it for my future UK location research. I found all the research useful, even the weather patterns got me thinking about my future pavilion design and comfort of the user. Right now I feel that the design should have some reference to the horses or racing while taking advantage of the elevation and view from the site.

Project 1 Exercise 1.4 Site Analysis Physical and Historical Context

This time I decided to ‘explore’ my location in a digital way (to also brush up on my computer skills). I imported google maps image of my location to photoshop and drew over it to create my map. I chose to mark the proposed pavilion location in contrasting blue colour, so the viewer can see it immediately. Most residentail buildings on the map are detached, low rise houses, often in mock tudor style (dark brown on my map), village centre has a few higher rise blocks (light brown on the map, these buildings are no higher than 4 floors) which have shops, restaurants and other facilities on the ground floors.

Fig. 1 The location and surroundings map

After that it was quite easy to show sun path in relation to the location.

Fig. 2 Sun path

Sun path will be an important part of design. The location gets sun all day (on a sunny day) and the users’ comfort will need to be considered. Ideally the pavilion should be warm on a chilly day and not too hot on a warm day. The design will have to be centred around the best feature of the location – the view of the racecourse. As the location is elevated the viewer needs to look slightly down to see the fields. The benefit of that is that the sky is a massive part of the view. My design will have to be conscious of that.

Fig. 3 The wind

As the location is elevated and surrounded by open fields to the west and north, and low rise buildings to the east and south it can get quite windy. Most of the wind comes from the racecourse / west side. I live around a mile north (in straight line) of the location and I noticed that even in more built up , residential area the wind blows mainly from the racecourse. Apart from this local weather patterns are typical for South East England – wet and windy winters, and warm, sometimes hot, mild summers. I would like my pavilion to provide shelter from wind on cold days.

The location is next to Tattenham Corner Station, which has a direct, albeit infrequent (every 30 mins in peak) link to London Victoria Station. The location is well connected by road, ample parking is available nearby. There is also bus stop in the village – it takes 10 minutes to get to Epsom Town Centre.

Current use of the location – a green with some benches, viewpoint of the racecourse.

Historical events in or near the site.

The name Tattenham Corner comes from the famous, strategic, sharp bend on the eastern side of the racecourse also called Tattenham Corner. Looking at the image in fig. 4 I can see (from the position of the buildings in the distance) that that bend is in perfect view from our location. The image also shows the popularity of the Derby with large crowd of spectators gathered.

Fig. 4 The Derby – Tattenham Corner (1873)

Tattenham Corner rail station was built in the late 19th / early 20th century to serve ever so popular Epsom Derby. It is the nearest station to the racecourse. The area of the village was sparsely populated, mainly fields for farming and cattle pastures etc. prior to the development of the village that followed the opening of this transport hub.

Fig. 5 Tattenham Corner Railway Station, Tattenham Corner Sta, 1928

Looks like our hill has been purposely made to provide exit and entrance to the train station. Nowadays there are no steps down and the hill has more organic, natural shape. The station building, we see here in fig. 5 has allegedly been knocked down by a drink-driving train operator. Currently the station sports a modern brick station building.

According to Ruppert Mathews (The History Man blog) my location hill was created to level station area and to provide exclusive viewpoint of the derby for senior rail employees and their guests. Nowadays, the hill is said to be always packed on the race days.

Tattenham Corner village housed (amongst many other facilities) a café. That café has become an engineering site, producing military components during WW2. The site later reverted to a restaurant, sadly it was later demolished to make space for the current Belmont Garage building (which offers little aesthetic value).

The racecourse itself has a rich history. The races are believed to have started in the 1640s, following the discovery of Epsom Salts.  They were later banned by the Commonwealth and resumed in 1661. By 1780 Epsom Downs Derby was a major sporting event and an opportunity for a day out to Londoners.  The Derby Day attracted both aristocracy and workmen. Illegal gambling and bare-knuckle boxing matches were providing extra thrill to the visitors.

On 4th of June 1913, a protesting suffragette, Emily Davison stepped in front of the Kings horse during the derby at Tattenham Corner part of the racecourse. She never regained consciousness and died soon after.

During WW1 Epsom Downs was an assembly point for troops.

List of illustrations:

Fig. 4 Doré, G. (1873) The Derby – Tattenham Corner. [Wood Engraving] At: https://d1inegp6v2yuxm.cloudfront.net/royal-academy/image/upload/c_limit,cs_tinysrgb,dn_72,f_auto,fl_progressive.keep_iptc,w_1200/yusmimmzfgub9rj62bas.jpeg (Accessed 28/09.2020)

Fig. 5 Britain From Above (1928) Tattenham Corner Railway Station, Tattenham Corner Sta, 1928. [Photograph] At: https://britainfromabove.org.uk/sites/all/libraries/aerofilms-images/public/580w/EPW/025/EPW025149.jpg (Accessed 28/09/2020)

References:

Bouchard, B. (2017) Tattenham Corner Restaurant, Tattenham Corner, Epsom, A Production Facility For Epsom Engineering Company Ltd In WW2. At: https://eehe.org.uk/?p=29881 (Accessed 28/09/2020)

Matthews, R. (2014) Tattenham Corner railway station, the early years. At: http://thehistorymanatlarge.blogspot.com/2014/12/tattenham-corner-railway-station-early.html (accessed 28/09/2020)

The Jockey Club (2020) The Derby & The Suffragettes. At: https://www.thejockeyclub.co.uk/epsom/events-tickets/epsom-derby/about-the-event/the-derby/suffragette-derby-and-thereafter/ (Accessed 28/09/2020)

The Jockey Club (2020) The Epsom Derby Early Years. At: https://www.thejockeyclub.co.uk/epsom/events-tickets/epsom-derby/about-the-event/the-derby/the-early-years/ (Accessed 28/09/2020)

The Jockey Club (2020) The History Of Epsom Downs Racecourse. At: https://www.thejockeyclub.co.uk/epsom/about/history/ (Accessed 28/09/2020)

Racing fixtures (2020) Epsom Downs. At: https://www.racingfixtures.co.uk/courses/epsom-downs.php (Accessed 28/09/2020)

Southern Railway E-mail Group (2004) Tattenham Corner. At: https://sremg.org.uk/location/tattcnr_01.html (Accessed 28/09/2020)

Tattenham Corner Community (2020) Tattenham Corner… At: http://www.tattenhamcorner.co.uk/ (Accessed 28/09/2020)

Wikipedia (2020) Tattenham Corner. At: https://en.wikipedia.org/wiki/Tattenham_Corner (Accessed 28/09/2020)

Project 1 Exercise 1.3: Site Analysis: Personal Response

I visited my location on a nice and sunny day, around midday. The view from the hill was stunning as usual. I was lucky with the weather, my drawings, experiences and observations would have been very different if the weather was horrible.

Mapping:

Fig. 1 Mapping

I referenced the layout of the space against google maps images on my phone. The top of the hill is easily accessed from the direction of Tattenham Corner station. The west and south-west facing hill edge is quite steep, not easily accessible from that side. Top of the hill is quite flat, ‘furnished’ with scattered trees and benches. All the benches are facing west or south-west – towards the view. There are quite tall shrubs on the north-west edge of the hill, providing the barrier between the calm, natural space and the car park. The road between the hill and the racecourse is fairly busy but because of the difference in elevation the traffic noise isn’t overpowering. Royal Drive is on similar level to the hill and cars moving there are creating more perceived noise than on the busy road below (despite traffic on royal drive being quite slow)

Occupying Space:

Fig. 2 My Route

I entered from the car park side, chose an empty bench, and sat there for a while. The view from benches reminds me of views usually seen from infinity pools –I could not see the road below, the hill edge merged with the Racecourse fields. The edge of the hill is quite steep so not too nice to be there. Also, the road below is visible from the edge and ruins the view. I walked back as the arrows indicate, between the trees. I marked shades cast by trees, I think these areas are very important especially on a hot day.

Observing Behaviour:

Fig. 3 Observing behaviour

The space was quite busy, some people came and went as I spent my time there, others were there when I arrived and stayed after I left. All the users seemed to be visiting this space for the beautiful views and tranquil atmosphere. People there are relaxed, happy, friendly. Of course, we must not forget the people walking in the racecourse. If I locate my pavilion on this hill, it will be visible from the racecourse.

Soundscapes:

Fig. 4 Soundscapes

I closed my eyes and listened. Unwelcome sounds were the loudspeaker voice (pink) and breaking glass (purple). The other sounds were ok, not quite music but not unpleasant either. The ladies chatting nearby had infectious giggle. As I started describing my drawing in fig. 4 I realised I should have placed the sounds on a map. So I quickly drew a map and placed my sounds on it.

Fig. 4a Soundscapes mapped

Touch, Smell & Emotions

Fig. 5 Touch, smell & emotions

I closed my eyes to contemplate the space this way. I felt warmth of sun on my skin with an occasional, cooling blow of light wind. I realise that had I visited the space on a less glorious day that drawing would be very different. I touched the soft grass under my feet, it was cool and springy. I felt a smooth, metal surface of the bench under my skin. I tried to draw these experiences as I concentrated on them.

Form & Light

Fig. 6 Form & Light

It was a bright, sunny day so the contrast between light and shade was stark. I tried to capture the contrast of it on a black metal bench. The sun was shining from the left front side ,making some slats black and some shiny and light. The trees were casting lovely big shades, the shape of the trees complex and simple at the same time. Another interesting form was the large group of overgrown shrubs between the hill and car park. I tried to depict the general shape and patterns within it.

Project 1 Exercise 1.2 Site Selection & Documentation

Location: Epsom, Surrey

Epsom is a historical market town located in North Surrey, on the southern outskirts of London (around 15 miles from Central London), just inside the M25. During 2011 Census the population of Epsom was counted at 32311.

Main historical events that contributed to towns development were:

  1. The early 17th century discovery of Epsom Salts in a spring in Epsom Common led to the town becoming a popular spa destination.
  2. Epsom Derby is one of the oldest and most renowned horse races. It began in the spa period and continues to this day. Epsom Downs Racecourse is home to Epsom Derby. It is located on the outskirts of Epsom, amongst woods, fields, and small, picturesque villages.

During Covid-19 crisis this year I walked often around the racecourse area and even then, I started to assess prospective suitable locations for my pavilion. Initially I considered area just south of the racecourse, still within recourse grounds. I later dismissed it due to likely access issues.

I noticed the area was popular with walkers, and I thought it would be nice to have somewhere to take shelter on a hot or rainy day, to take a break. I decided to look for a suitable location around the racecourse. I used my first-hand knowledge of which spots are specifically popular as rest areas, and unsurprisingly these are the ones with the best view.

Number 1 in fig. 1 shows small hill overlooking the racecourse, there are already some benches for people to relax on. The view over the racecourse is stunning. This location is also very close to Tattenham Corner Rail Station, and village facilities. For the purposes of this task I titled this spot as Location 1.

Number 2 in fig. 1 shows another location with a north facing view of central London and beyond. On days with particularly good air clarity a viewer can even notice Wembley stadium on the horizon. For the purposes of this task I titled this spot as Location 2.

Each of the locations could do with a pavilion:

Location 1 is very near train station, so could be a nice spot to spend a few minutes before or after your journey, especially in winter weather – the view it would provide would make the space more attractive than even the fanciest station facilities. The train service is infrequent (every 30 mins in peak time), so any unlucky commuter who missed their train could de-stress there.

Location 2 is next to a very busy 40m/h road. It can get quite noisy. There also are no benches, so the space is more for people who drive and who often bring their own seating to relax while they admire the London skyline. A pavilion there could be a good idea as certain construction types could provide noise shelter; it could also have some seating for those unable to bring own chair.

After careful consideration I decided to go with Location 1. Mainly because it has a guaranteed view of the racecourse – regardless, the weather and visibility. I also like it because it is more elevated than location 2. I think pavilion there will be more practical too. People can admire the view at location 2 without leaving their car, location 1 does not have that option so a pavilion there will be more useful than at location 2. There also could be a legal issue in Location 2 – the green belt next to car park belongs to Epsom Golf Club – I cannot imagine the management would be happy to put a pavilion there, inviting even more walkers to their grounds. This year they put up special orange fences to stop the ‘lockdown’ walkers treading on their grass.

Fig. 1 Epsom Downs Racecourse and Surroundings
Fig. 2 Location 1 Street view
Fig. 3 Location 1 Zoomed in Map
Fig. 4 Location 1 – view from station side
Fig. 5 Location 1 – panoramic view over the racecourse
Fig. 6 Location 1 – Standing near the edge of the hill.
Fig. 7 Location 2 – Zoomed In Map
Fig. 8 Location 2 – Street view
Fig. 9 Location 2 – View towards London Skyline

List of illustartions:

Fig. 1 Google Maps (2020) Epsom Downs Racecourse and Surroundings. [Map/Edited Screenshot] At: https://www.google.com/maps/search/epsom+downs/@51.3090834,-0.2595061,3906m/data=!3m1!1e3 (Accessed 13/09/2020)

Fig. 2 Google Maps (2020) Location 1 Street view. [Screenshot] At: https://www.google.com/maps/@51.3087969,-0.2440703,3a,75y,26.87h,93.16t/data=!3m6!1e1!3m4!1sPY0k6hKvxVZt7u58oLnVhQ!2e0!7i13312!8i6656 (Accessed 13/09/2020)

Fig. 3 Google Maps (2020) Location 1 – Zoomed In Map. [Map/Edited Screenshot] At: https://www.google.com/maps/search/epsom+downs/@51.3093161,-0.2443427,288m/data=!3m1!1e3 (Accessed 13/09/2020)

Fig. 4 Shuttleworth, A. (2020) Location 1 – view from station side. [Photograph] In the possession of: the author: Epsom.

Fig. 5 Shuttleworth, A. (2020) Location 1 – panoramic view over the racecourse. [Photograph, panoramic] In the possession of: the author: Epsom.

Fig. 6 Shuttleworth, A. (2020) Location 1 – standing near the edge of the hill. [Photograph] In the possession of: the author: Epsom.

Fig. 7 Google Maps (2020) Location 2 – Zoomed in Map. [Map/Edited Screenshot] At: https://www.google.com/maps/search/epsom+downs/@51.3147582,-0.2515405,387m/data=!3m1!1e3 (Accessed 13/09/2020)

Fig. 8 Google Maps (2019) Location 2 – Street view. [Screenshot] At: https://www.google.com/maps/@51.3142628,-0.2508613,3a,40.5y,350.41h,92.63t/data=!3m6!1e1!3m4!1saxsCrSxWLiPaWnrir-MFbA!2e0!7i16384!8i8192 (Accessed 13/09/2020)

Fig. 9 Shuttleworth, A. (2020 Location 2 – View towards London Skyline. [Photograph] In the possession of: the author: Epsom.

References:

Dalton, T. (2019) Discover some amazing historical facts about Epsom. At: https://www.timeandleisure.co.uk/epsom-history-snippets/ (Accessed 10/09/2020)

Epsom & Ewell History & Archaeology Society (2020) A Brief History of Epsom and Ewell. At: http://www.epsomewellhistory.org.uk/local-history/4545527639 (Accessed 10/09/2020)

Exlopring Surrey’s Past (2020) Epsom. At: https://www.exploringsurreyspast.org.uk/themes/places/surrey/epsom_and_ewell/epsom/ (Accessed 10/09/2020)

Surrey I Your Insight into Surrey (2011) 2011 Census town/village summary: Epsom.

At: https://datapress-files.s3-eu-west-1.amazonaws.com/surrey/dataset/2011-census-summaries-for-towns-and-villages/2018-05-10T13%3A53%3A22/Epsom%20and%20Ewell%20towns.pdf?X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIA34OJCNUVXSUMRHGO%2F20200913%2Feu-west-1%2Fs3%2Faws4_request&X-Amz-Date=20200913T094734Z&X-Amz-Expires=300&X-Amz-Signature=cb1024e3cd2c4b2e5c3fd44076b398182bb0e2954cd703b7c7d37b9ab0ca6b1f&X-Amz-SignedHeaders=host (Accessed 13/09/2020)

Project 1 Exercise 1.1: Pavilion Research

Using the skills and techniques you developed in Part 2 – Research: Context & Material, find some general information and interesting examples of, pavilions.

Some questions to help get you started could be:

•What is a pavilion?
•What are they used for?
•Who uses them?
•Why do they exist – what is their history?
•Where are they located?
•How big are they?
•Are there some contemporary examples of pavilions?

Reflection on the task

It was useful to learn how versatile the term ‘pavilion’ is. As usual with research task I now want to go and visit the pavilion I researched, albeit serpentine pavilion is different every year. It is nice to know I have a pavilion too. InDesign continues to be difficult software, but it was nice to have a go again. It was quite hard to get back to study after a long break, but now I can feel the motivation to push on.

List of illustrations:

Fig. 1 Baan, I. (2016) BIG’s Serpentine Pavilion [Photograph] At: https://images.adsttc.com/media/images/5756/e8db/e58e/ce8b/5100/0003/slideshow/big_pavilion_-_image_c_iwan_baan_5.jpg?1465313479 (Accessed 23/07/2020)

Fig. 2 Baan, I. (2016) BIG’s Serpentine Pavilion Interior [Photograph] At: https://images.adsttc.com/media/images/5756/e802/e58e/ce8b/5100/0001/slideshow/big_pavilion_-_image_c_iwan_baan_2.jpg?1465313262 (Accessed 23/07/2020)

Fig. 3 Brighton Museum (date unknown) The East elevation of the Royal Pavilion [Photograph] At: https://brightonmuseums.org.uk/royalpavilion/wp-content/uploads/sites/2/2014/10/Royal-Pavilion-Exterior-e1414068845417-1024×455.jpg (Accessed 02/09/2020)

Fig. 4 Tunnel, T. (2019) Steampunk Pavilion [Photograph] At: https://images.adsttc.com/media/images/5d9d/223e/284d/d133/de00/008b/slideshow/feature_-_06_Steampunk_TAB2019_%C2%A9To%CC%83nu_Tunnel.jpg?1570578958 (Accessed 02/09/2020)

Fig. 5 Erazo, S. (2019) Geçit Wooden Pavilion [Photograph] At: https://images.adsttc.com/media/images/5d26/e5b1/284d/d1c1/d200/0065/slideshow/IZM_D06_09.jpg?1562830234 (Accessed 02/09/2020)

Fig. 6 Shuttleworth, A (2020) Private garden pavilion [Photograph] In possession of: the author: Epsom.

References:

Brighton Museum (2020) Royal Pavilion History At: https://brightonmuseums.org.uk/royalpavilion/history/ (Accessed 02/09/2020)

Build your own pavilion (2020) What is a pavilion? At: http://buildyourownpavilion.serpentinegalleries.org/what-is-a-pavilion/#:~:text=A%20Pavilion%20might%20be%20used,lawn%20of%20the%20Serpentine%20Gallery. (Accessed 23/07/2020)

1st quick practice drawing

As recommended by my tutor I made my first quick drawing of an everyday object. It had to be very quick as I drew it on the plane and the object I drew belong to another passenger, so I couldn’t know how soon it will be moved. I had a very good view of it. Due to the location the drawing took place I had limited media (automatic 0.7HB pencil and precision eraser). The drawing is fairly small as for practical reasons I used a small notebook. The object is a small plastic cup with a plastic straw in it. It was an interesting experience trying to capture the transparency, smoothness and light reflections on the item using just a pencil. Eraser helped creating the shine. I concentrated on relying the shine and transparency. It felt a bit odd to draw on a plane, being surrounded by people able to look over my shoulder. But soon I forgot about them and enjoyed the task. Really nice activity to pass the time. It’s a shame that the arrangement was moved as there was a water bottle too, and I would have drawn it if I had a chance. I could have also added the surrounding; the fold up table and back of the seat. Maybe on my way back!

Part Four Feedback Reflection

Overall:

My tutor noticed effort and attention to detail and said it will pay off.

As usual there were some great tips in my feedback, here my tutor recommended to help capture perspective of circular object or a circular space to position my objects linear, the visible difference in sizes will help.

My tutor suggested to work / concentrate on one drawing, rather that doing too many different ones. ‘Reworking can produce more textured results.’

Research:

My tutor noticed the work I put in research of movement in interiors. I researched various examples and noticed ‘different types of movement’. I also tried to apply to apply the knowledge gained through my research to my own work.

Doing additional research (as I did with perspective lines on my walks) will improve my skills in observing spaces.

Creativity:

My tutor said that I continue to develop my creativity and it is showing more, especially in abstract drawing of still life. She recommended the group drawing sessions. I should also remember that this type of drawing does not have to represent exact image of my object. I need to trust my hand more and draw on larger sheet of paper.

Even though I had a good start at photoshop I should try and play more with images in photoshop, such as layering and adding background, it will make the abstract image look more ‘real’.

My tutor said my perspective drawing attempts were a good start, I received a helpful tip to place vanishing points outside of my paper.

Communication & Presentation:

My tutor said that drawing movement and people is difficult, but I gave it a good go, trying different approaches.

I should practice drawing people using freeze-frame on TV and do quick stick drawings, showing angles and lengths of limbs. Also including, wrists, elbows and knees will help express the movement and make the figures look right.

My ways of expressing movement using lines, spirals, colour, and gradients were successful.

I am pleased to know that navigating my learning log is easy and that the layout is clear.

Critical reflection:

My tutor said that my personal reflection is detailed, and I explain my thoughts and processes is an easy to understand way.

She also noted that ‘I can think across the tasks and make connections in my work which show development in my understanding.’

I am very pleased with these comments as not only I need to learn; I also need to show what I learnt through my learning log and reflection. I am glad I am doing it right.

My James Turrell contextual study showed what I learnt about light and framing views. It also showed how I applied that new knowledge to different interior spaces, and I was ‘referencing it back and forth’ – which will ‘enrich my future design work.’

To improve my work:

I should improve my drawing skills by practising as much as I can, quick 10-minute sketches of random views of spaces and objects I observe.

Life drawing practice would help me understand the proportions of human body better. Free online classes were recommended by my tutor as well as OCA workshops (that I signed up for already).

My tutor said not to be too careful with it, just to follow through even if it does not look right it will all fall into place.

I am very pleased with the feedback I received, I shall follow the tips and recommendations specified in my feedback.

Reflection on Assignment Three and Part Three Feedback from my tutor.

I received the feedback a while ago and needed to clarify a few bits with my tutor before properly reflecting on it. In the meantime, I got stuck in Part Four and finished it, so only now the time allows to type it out (I had notes for ages).

Overall:

My tutor noted that I am learning how to communicate through drawing, it is an essential tool and measured and accurate hand and CAD drawings are important.

My tutor clarified that drawings are part of instructions, and it is likely that my future drawings will be instructing ‘hand’, not the machine, therefore I should not worry too much about points size in my hand drawings as there always be ‘an amount of tolerance’.

According to the feedback I have done well with Contextual Study ‘Lines – a close reading’ by breaking the text down and then making connections. My tutor said my methods will pay off; it was reassuring to hear as I was not sure whether my mind map was done the ‘right way’. It paid off to do what felt right. Also, during our recent chat my tutor said there is no right or wrong way to do contextual studies, as it is all about what I think (that was rather wonderful news!)

My peer activity has been noted and encouraged – I shall continue.

Research:

It is nice to know that my research is considered thorough and in some cases I researched beyond the requirements of the course (I had not even realised I did ‘extra’). My tutor said that any extra work like that will help me with the studying and develop my unique design interests. I will continue drawing on my own experience when considering texts and drawing my own conclusions.

Creativity:

My approach to ‘Lines’ contextual study and completing it showed (according to the feedback) creativity. This helped me understand the ideas presented and draw my own conclusions. I am really pleased my tutor thought so as I found this task quite hard at the time (not creating but reading and understanding).

My tutor’s opinion is that my creativity shows in connections I make between the course work and the ‘outside’ world. I must make sure I take photos or draw and add these images when I make my observations in the learning log.

I am encouraged to share more of my thoughts, I must remember to take notes and photos or draw when they come to me.

I keep having thoughts about lines, that text really stuck in my mind. Previously in my learning log I said that only truly straight lines are rays of light, but I was wrong… A piece of string can be straight if its hanging with a weight attached to the bottom. In this case the gravity/ nature makes it straight, even if the string is manmade. This knowledge is often used by bricklayers as reference for building straight, vertical walls.

Another thought about straight lines is that perhaps it does not matter if the line is perfectly straight as long as it appears straight.

Communication and presentation:

I have received a well done for persevering with CAD software and on starting with technical drawing both in CAD and by hand.

My tutor said that section drawn by hand (or line drawing in CAD, not a section of an extruded 3D shape), helps understand better individual components and how the section is made.

Drawing on a board with parallel motion was recommended by my tutor. I already got one and I am looking forward to the next technical drawing exercise where hopefully my angles will be better than in my previous exercises. It is important that my angles are what they should be, and the lines are parallel when needed. I realise I did not get it quite right in the past.

I should improve on using line weights to indicate the hierarchy in line drawings.

My tutor recommended checking the wall thicknesses in my bathroom drawings. I have since clarified it with her, that two walls are external hence they are thicker in my drawings.

I should research how other CAD drawings are titled and I should include title block and some dimensions in my CAD drawings.

I also should have added thickness to the ‘cut’ card in section drawing of my model in assignment 3. Even though it is a card and is fairly thin I should have included that thickness in my CAD drawing. I tried to measure it since, and it looks like 0.1mm thickness. I had a look online and found a table on ZX Printer website stating that 140gsm paper which I used to create the base of my model has thickness of 0.16mm. Now I wonder whether the ‘cut through’ tops in my model should also have had thickness according to their 80gsm. According to that same table that would be 0.065mm thick. Therefore, CAD is such a great tool, it would be impossible to include this detail by hand (unless you do a magnified scale (eg. 10:1) drawing for a portion of ‘normal’ drawing.

My tutor mentioned that it would have been a good idea to include bases of my model in plan as dotted line. What a great idea, I am gutted I did not think of it at a time.

Also, there was no need to copy my plan drawing to then add section, I should have done it on the original. I wanted to preserve my original drawing but there was no need for that.

My tutor said more information (within reason) such as section line on the drawing is better.

My tutor noted that ‘my survey notes for spatial drawing were well organised with different colours for different dimensions’ – I was pleased to read this compliment.

Critical Reflection:

My tutor told me that contextual studies and critical reflection tasks add to knowledge and eventually will help me inform my design choices and connections I make.

After reading the feedback I realised I had not been clear enough in my reflection in exercise 2.3 regarding my measurements not being clear to someone else. They were clear to me; I was instructing myself with them. Of course, I agree with my tutor that if I were passing those instructions on to someone else, I would need to make my notes super clear. I should practice ‘clear’ instructions for myself in the meantime so I am not out of my depth in future when I could possibly be a part of a larger team. Certainly, I must reflect in a clear and productive manner too.

To improve my work:

  • I need to look at some examples of technical drawings, layout, how drawings relate to others on same page, what information is included in title block, how much other information (dimensions, notes, material) is given. Does this depend on the scale of the drawing?
Fig. 1 Existing and proposed floorplans. Sectional elevations.

In Fig. 1 above we can see that each room is described with its function, there is a compass near floorplan showing North. Each of the subdrawings has a number and title underlined, and below sheet reference number and scale. Also, for reference there is a line scale added, which is a practical solution in case this drawing was not printed on a3, one could use a ruler and work out a scale. There is a lot of very clear notes what is to be kept, what to demolished, specific comments regarding new dimensions, new structural elements. I’m assuming title block is the one in bottom right corner, it includes: company details, a small table for revision comments (which is blank so I’m assuming it’s the first version), project details, drawing details (i.e. ‘existing and proposed floorplans, sectional elevations’), authors name, date, scale, project number and sheet number. There are some dimensions (as suggested by my tutor) and section lines. I also noticed that existing and proposed floorplans are directly above one another with walls on right hand side aligned so the difference in extension sizes on both plans can be seen. I can also see structural elements under the floor of the building. There is also some small print, possibly about terms and conditions, not quite legible

Noticing all this information made me think I should probably create a template table to include in my technical drawings so they all include same information and I should  place it in one of the corners of my drawings.

Fig. 2 Proposed Extension Elevations

The drawing in Fig. 2 contains a lot of instructions for the builder (architect ‘rules’ the builder – lines again). It does not specify any dimensions. I can see that subtitles under each part is scaled to match scale of the drawing. There are two scales specified, but it does not say on what paper, so I assume architect would print this one on the correct size paper and provide hard copy to the contractor. There is a comment saying ‘not to scale off the drawing’, perhaps there was more drawings in the pack specifying the dimensions in detail. There is a similar table to Fig. 1 containing similar information.

Both drawings look neat and clear. I must look at some tutorials how to create and paste information tables into my drawings.

  • I should remember about thicknesses in section drawings, no matter how small.
  • I need to pay more attention to line thicknesses and their hierarchy in technical drawings.
  • My tutor recommended that I practice technical drawing of objects and spaces known to me either by hand or in cad.
  • Books and websites were suggested to broaden my knowledge. I signed up to the mailing list on https://www.drawingmatter.org/ to receive their newsletter straight to my inbox.

All in all, I am pleased with my feedback and the amount of advice and tips I got from it.

List of illustrations:

Fig. 1 Noel, A (2016) Existing and proposed floorplans. Sectional elevations. [CAD Drawing] At: https://quickmarket.co.uk/wp-content/uploads/2018/08/4-537.jpg (Accessed 19/06/2020)

Fig. 2 Haworth, D (2014) Proposed Extension Elevations [CAD Drawing] At: http://www.davidhaworthdesign.co.uk/wp-content/uploads/2015/03/c.jpg

References:

ZX Printer (2013) The Thickness of Printing Paper List [Reference Table] At: https://www.zxprinter.com/support/paper-thickness.html (Accessed on 19/06/2020)

Assignment Four: Visualisation

I arranged some small scale figures around my model from assignment 1 and imagined the objects are rock sculptures (Fig. 1). I tried rely hardness of the material in my drawing. Due to size and weight it would most likely be an outdoor exhibition. The below drawing was completed on A3 sheet of paper paper using HB automatic pencil and precision eraser to lighten up parts that are not in shade, to increase the contrast between light and shade, and also to emphasize the hardess and sharp finish of the sculptures.

Fig. 1 Rock sculptures

Then I decided that my model could also make a nice stool, made of foam wrapped in rough, off white wool fabric. I tried to rely the softness of the structure in my drawing again using play of light and shade but this time more toned. The bases of my stools would be made of wood. In my visual I drew a person sitting on one of the stools and looking at the artwork to clearly indicate function of the object. I placed the stools inside a small art gallery, the interior shape is inspired by my models. The walls and dome ceiling are clad in light plywood. I selected this material because it is light, cosy and simple. It will not take attention away from the art displayed. I inserted a strip of windows near the top of the dome to engulf the interior in natural light. The floor is covered in simple wooden planks (Fig. 2). I completed this drawing using pencil, felt tip pens, fine liners, and soft pastels. I am hoping I managed to capture movement in the shape of the room and repetition of pattern on the walls.

Fig. 2 Interior visual

Then I decided to draw the actual buildings of the gallery (Fig. 3). There would be three of them as there are three objects in my model. I would like them to be positioned in an open green space. The shapes of the buildings are unusual but finished in limited materials of CorTen (weathered steel) and clear glass. I think CorTen’s colour and matt texture would contrast dramatically with the greenery around. The shiny glass in the stripes of skylights and doorways will on the other hand contrast with CorTen, adding interest to my buildings. Also, the top of the dome, floating like a hat above the rest of the building and glass stripe was my idea of adding movement to the exterior design.

Fig. 3 Outside visual

Reflection on completing the Assignment Four and Part Four:

The drawing exercises in Part Four were useful, especially the tonal ones. They really helped get the texture of rock sculptures in Fig. 1 of my Assignment 4.

I thoroughly enjoyed all drawing exercises, I just like drawing, even if I am not very good at it.

Exercise 1.1 opened my eyes to different techniques giving different results, not sure if blind drawing or drawing with eyes closed would get me far… I was most pleased with the result of tonal drawing in that exercise.

I liked experimenting with media and surprising results of those experiments, especially in the drawing with fine liners on greaseproof paper. I think that was my best drawing in that exercise, it was precise and smudged at the same time. Some of the methods I tried turned out quite messy (charcoal) but I am pleased I tried them; charcoal is great for creating shade.

I purchased a set of soft pastel pencils recently and I think it is my favourite medium, you can so easily change the intensity of the tone, and rely light, shade, and colour better. But sometimes simple coloured pencils did the job too, it made me realise that we do not always have to use complicated methods, sometimes drawing may be in a spur of a moment, and then any medium could suffice.

Doing collage was fun, I embraced the creative process and tried to find the most unobvious pieces to paste. Also learning how to use photoshop for the first time was great, still way to go with learning it, but I enjoyed the start.

Contextual studies as usual were extensive and time consuming, but I learnt a lot from them. How to look at the interior and try to see movement: what an abstract task, yet it is a doable activity, it just needed some imagination. I enjoyed looking at different interiors and selecting the ‘ones’ I did. My favourite one was Opium Pop Up Store (The Flip Flop) – its interior screams movement (and lines). Polet Restaurant Interior would be a good example in truth to materials exercise in Part Three, most materials are natural and bare.

Contextual Study: Light was difficult. It was easy to find images of James Turrell’s work, but it was hard to answer the questions. I needed a few days to dwell and few nights to sleep on it before the answers came to me. Light and shade are to capture movement and atmosphere of the space. Also, without the light we could not see.  James Turrell’s work and philosophy were coming back to me when completing the Assignment Four, the study inspired the stripes of skylights in Fig. 2 and Fig.3.

Capturing Movement drawing exercise was a real pleasure. I may not be the best at drawing people, and I’m not sure if opting for opaque figures is the way to go but I really enjoyed exploring the options on how to capture different movements I saw, how to make them move while being in a still drawing. I hope I got it right. I think to capture movement you need pattern and contrast.

20 second renders were not easy; I think the only one I remotely managed to capture was marble. The following render exercise was not easier, despite having more time and a selection of different drawing materials. Some cubes took more than one drawing trial. I think sometimes it will be better to use software to render or to annotate drawings by hand to specify the finish or material.

One-point perspective drawing was quite easy compared with two-point perspective. I enjoyed both exercises and since completing it I try to look and see I can pinpoint vanishing points in two-point perspective views. I took the photo in Fig. 4 as an example of two-point perspective view when we can see corner(s) of building(s). I would usually stop and look and see if my eyes can follow the invisible guidelines to find the vanishing point.

Fig. 4 Two-point perspective.

I struggled capturing perspective in my Assignment Four. I blame my unskilled hand and the fact the objects are circular. I am also hoping I am too harsh on myself and maybe it is not as bad as I think.

Looking back at my perspective with tone and colour I think the one without colour relies atmosphere and light and shade better. This exercise made me practice noticing the play of light and shade, and I am hoping I was successful utilising this skill when completing drawing in Fig. 1 of my assignment 4.