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.

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 (

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,

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:×568.jpg (Accessed 05/01/2022)

Fig. 2 Ghinitoiu, L (2017) Bund Finance Centre Balcony. [Photograph] At:×568.jpg (Accessed 05/01/2022)

Fig. 3 Hufton and Crow (2019) Leeza Soho Skyscraper Interior. [Photograph] At:×900.jpg (Accessed 05/01/2022)

Fig. 4 At: Hufton and Crow (2019) Leeza Soho Skyscraper Exterior. [Photograph] At:×751.jpg (Accessed 05/01/2022)

Fig. 5 Clouds Architecture Office (2017) Analemma Tower Above Manhattan. [Visual] At:,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: (Accessed 06/01/2022)

Fig. 7 Clouds Architecture Office (2017) Analemma Tower, Elevation. [Technical Drawing] At: (Accessed 06/01/2022)


Clouds Architecture Office (2021) Analemma Tower. At: (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 ( (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 ( (Accessed 05/01/2022) 

Freeman, D (2017) Firm floats plan to hang colossal skyscraper from an asteroid. At: (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.

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:×1537.jpg (Accessed 22/06/2021)


Astbury, J (2021) Frank Gehry crowns Louis Vuitton Maison Seoul with glass sails. At: (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.

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: (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.

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 ( 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:×400.jpg (Accessed 23/03/2021)

Fig. 2 S3i Group (2021) Surface Mount Balustrade Wire. [Photograph] At: (Accesses 28/03/2021)

Fig. 3 S3i Group (2021) Balustrade wire passing through an intermediate post. [Photograph] At: (Accessed 28/03/2021)


Honeysuckle Bottom Oak (2021) Welcome to Honeysuckle Bottom Oak. At: Oak Sawmill in Surrey » ( (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) ( (Accessed 28/03/2021)

Wood Finishes Direct (2021) Osmo UV Protection Oil Extra At: Osmo UV Protection Oil Extra | Exterior Wood Protection (

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 ( to this model.

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: (Accessed 31/10/2020)

Fig. 2 ZY Studio (2019) Jiunvfeng Studio At Night – Balcony [Photograph] At: (Accessed 09/11/2020)

Fig. 3 ZY Studio (2019) Jiunvfeng Studio – Interior [Photograph] At: (Accessed 09/11/2020)

Fig. 4 ZY Studio (2019) Jiunveng Studio – The Curve [Photograph] At: (Accessed 09/11/2020)


Block, I (2020) Gad Line+ Studio perches white cloud-like pavilion to overlook sacred mountain in China. At: (Accessed 09/11/2020)

Gad·Line+ Studio (2019) Jiunvfeng Study on Mount Tai / gad·line+ studio. At: (Accessed 31/10/20 20)

Unesco World Heritage Centre (2020) Mount Taishan. At: (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: (Accessed 11/10/2020)

Fig. 2 Roh, K. (2015) Oasis Pavilion – Interior 1. [Photograph] At: (Accessed 11/10/2020)

Fig. 3 Roh, K (2015) Oasis Pavilion – Interior 2. [Photograph] At: (Accessed 11/10/2020)

Fig. 4 OBBA (2015) Oasis Pavilion – Plan [Drawing] At: (Accessed 11/10/2020)


ArchDaily (2015) The Oasis / OBBA. At: (Accessed 03/10/2020)

Gibson, E (2015) Translucent curtains surround “floating” Oasis pavilion by OBBA. At: (Accessed 03/10/2020)

Kwok, N. (2015) OBBA blurs boundaries with their floating oasis pavilion in south korea. At: (Accessed 03/10/2020)

Office for Beyond Boundaries Architecture (2015) APMAP 2015 Yongin – THE OASIS. At: (Accessed 03/10/2020)

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!

Contextual Study Point 1: Light

What “experience” is James Turrell trying to create and what specific techniques is he using in his designs?

Can you describe them and propose ideas of how and why they might be effective at engaging the viewer?

Can you draw any comparisons to James Turrell’s work and a design visual of an interior design?

Using your learning log, along with pictures of James Turrell’s work, discuss these ideas and reflect on how you might incorporate these ideas in your visuals. Keep the post to a minimum of 200 words.

James Turrell is an American artist who trained as psychologist and is an avid pilot. He was born in 1943 and created many light installations or other works of art and architecture that use light and empty space as medium. He often gets his inspiration from the feeling of space and light while he is in the air, piloting a plane. His artworks are spread around the world and since 1977 he has been involved in the ongoing creation of Roden Crater – a large scale artwork – a fruit of his lifelong research into visual and psychological perception. He is in the process of creating a unique destination, occupying a dormant volcano crater in the middle of Arizona Dessert.

In my opinion through his designs he is trying to make people being in thought, to contemplate, to consider the environment around them. He wants people to stop and look, just look, perceive, and feel, perhaps feel surprised while they see a lit space that may appear to be in a different dimension than it actually is. An example of this could be a frameless opening in the roof (Fig. 1), that looks almost like a picture (and at night a dark rectangle contrasting with the lit room – Fig. 2); or light shining on a corner in such a way that it looks like a 3D object that shares the same corner and at the same time like a flat object whose front hides the corner (Fig. 3).

His artwork engages the viewer through contrast between light and shade (or darkness) and through perception that is different to reality.

Interior design visuals where outside is brought inside use similar techniques to some of James Turrell’s work. These visuals would have large windows with beautiful scenery, landscape or urban visible and being a focal point of the interior (Fig. 4).

Fig. 4 Modern kitchen overlooking the ocean as it flows into the timber deck outside

Visuals with skylights showing the sky especially on a beautiful day (Fig. 5) use similar technique to J. Turrell’s too. I think these features make user stop and contemplate and hopefully feel happy.

Fig. 5 Fabulous contemporary dining room offers a stunning window to the sky

Other visuals especially hand drawn can incorporate the contrast of light and shade by highlighting the light from lamp or window in a light or yellow colour (or perhaps even in a different colour). (Fig. 6)

Fig. 6 Visual 1 / Panoramic View

If I was designing a space with a beautiful outside, I would try and incorporate it within a design, try to bring it inside in my visuals, make it a feature. Also, when sketching I could incorporate light patterns cast by daylight or lamps (similar to my drawings in perspective exercise 3.3 where I tried to capture shade cast by the shutters).

Some interiors designs feature led strips along edges of dropped parts of the ceiling or above it (Fig. 7) or under steps.

Fig. 7 Kitchen LED Strip

I am not a fan of the lights highlighting the ceiling in that way but perhaps lighting whole wall or just artwork on it may be a good idea. It would all of course depend on the interior and the clients wants and needs too. On the other hand James Turrell created something similar to what in theory I’m not a fan of – I’m talking about his Inner Way piece (Fig. 8) It has strips of light by the ceiling but I think it’s brilliant. It only shows that you (or a client) need to see something to be convinced – right visuals highlighting the right features are so important.

Fig. 8 James Turrell’s work: The Inner Way

In commercial or public spaces using light to highlight architectural or other features adds sense of grandeur (Fig. 9).

Sun tunnels bring daylight into an otherwise dark space (Fig. 10 ) in a similar way to James Turrell’s light veils (Fig. 11) providing natural, bright and dispersed light. With the difference that light veil include both natural and artificial light. In both instances the user cannot see the light source. I stayed in house that had a light tunnel and I remember the surprise I felt every time I entered the room. The amount and the quality of light was astonishing.

The bottom line is – we need light in our interiors, preferably different sources at different brightness and concentration but light is needed for human (and other creatures) survival and wellbeing.

Reflection on the task:

As usual with contextual studies the hardest thing was to get started. I read about James Turrell and his work on the internet and then needed a couple of days to dwell and get the information in order. Then I sat down and noted most of the facts from my head. So in the end I enjoyed it, I just worried about what to include unnecessarily.

I learnt from this exercise that light plays vital role in the interior design, particularly how natural light enters and travels through the space, but also design and placement of artificial lights have tremendous impact on the atmosphere and usability of the space as well as on the experience of the space. Light also facilitates sense of movement in a space as seen in Fig. 9. Moire pattern visible there along with vivid colour sheer sheets intersected with lights and rounded, repeated shapes create movement. Without light the effect would be rather flat.

List of illustrations:

Fig. 1 Nakamichi, A (2004) Blue Planet Sky (daytime) [Photograph] At:×1819.jpg (Accessed 09.06.2020)

Fig. 2 Nakamichi, A (2004) Blue Planet Sky (at night) [Photograph] At:×1819.jpg (Accessed 09.06.2020)

Fig. 3 James Turrell Studio (1970) Raethro II Peach [Photograph] At: (Accessed 09.06.2020)

Fig. 4 Decoist (no date) Modern kitchen overlooking the ocean as it flows into the timber deck outside [Photograph] At: (Accessed 09.06.2020)

Fig. 5 Decoist (2015) Fabulous contemporary dining room offers a stunning window to the sky! [Photograph] At: (Accessed 09.06.2020)

Fig. 6 Partida, E (2014) Visual 1 / Panoramic View [Drawing by hand] At: (Accessed 09.06.2020)

Fig. 7 Bright stores (no date) Kitchen LED strips [Photograph] At: (Accessed 09.06.2020)

Fig. 8 Holzherr, F (1999) The Inner Way [Photograph] At: (Accessed 09.06.2020)

Fig. 9 Hu, Y (2017) Gallery of Metal Rainbow-Zhongshu Bookstore in Suzhou / Wutopia Lab – 1 [Photograph] At: (Accessed 09.06.2020]

Fig. 10 The Skylight Company (no date) Sun Tunnel [Photograph] At:–guide.png (Accessed 09.06.2020)

Fig. 11 James Turrell Studio (1974) Virga [Photograph] At: (Accessed 09.06.2020)


Enrico (2010) James Turrell: Skyspace Piz Uter At: (Accessed 06.06.2020)

James Turrell (2020) Work (Type) At: (Accessed 06.06.2020)

Skystone Foundation (2020) Roden Crater At:  (Accessed 06.06.2020)

Stott, R (2012) Deer Shelter At: (accessed 03.06.2020)

Swenson, E (2016) James Turrell : Shards Of Color At: (Accessed 06.06.2020)

Exercise 3.1 One Point Perspective additional reflection

I went for a walk today and took these to photos that’s show how the view closer to the viewer changes depending on the eye level height. The difference is quite dramatic

I tried to find my eye levels and vanishing points by drawing freehand lines (just though it may be a good practice to understand perspective better). I can see the height difference very clearly here.

Exercise 1.4 Capturing Movement

I selected Epsom Downs Racecourse as my space for this exercise due to restricted access to alternative sites due to Covid19. I selected this space because it is an open space and a popular walking, running etc spot so I knew I will see movement there.

I sat down on the ground and observed people passing by and drew Fig. 1 and Fig. 2. I used an automatic pencil and coloured pencils. The day was quite cold and windy, so I didn’t hang out there for much longer, just took a few photos in case I needed to refer to them I at home.

Fig. 1 Outside
Fig. 2 Outside plan view

The drawing in Fig. 3 shows outside space. I drawn it with pencil and used it as a base for all Epsom Downs Movement drawings. My final drawing is drawn over Fig. 3 drawing.

Fig. 3 Space

After I drew the space, I realised I have no idea how to draw people, leave alone people moving. So Fig. 4 – 7 show my practice, trying different techniques etc.

Fig. 4 Movement development 1
Fig. 5 Movement development 2
Fig. 6 Movement development 3
Fig. 7 Movement development 4

Fig. 8 – Fig. 9 are all drawn on tracing paper. I copied the landscape from Fig. 3 to speed up the process, and for clearer comparison of my movement on each.

Fig. 8 is drawn on the tracing paper with soft pencil, coloured pencil and pink fine liner (dogs tail). I think it shows the energy well, but I would prefer the colours to be more vibrant.

Fig. 8 Epsom Downs movement 1

In Fig. 9 I added the cyclist using soft pencil and coloured pencil.

Fig. 9 Epsom Downs movement 1 v.2

Fig. 10 was completed using fine liners and a sharpie. I thought It shows energy well, but I was not able to use gradient colours with this technique. The vibrant colours are great.

Fig. 10 Epsom Downs movement 2

In Fig. 11 I drew scenery and people in fine liners and a sharpie. Then I tried to capture movement using soft pastels. I do not think I captured movement well here, a bit too washed out.

Fig. 11 Epsom Downs movement 3

So I added patterns using coloured pencils (Fig. 12). A bit better but not quite. Now I think the trails are too long, they sort of miss the point, at the time I had no opinion yet.

Fig. 12 Epsom Downs movement 3 v. 2

Like in previous ‘Epsom Downs Movement’ drawing I first drew landscape and people using fine liners and a sharpie (Fig. 13)

Fig. 13 Development of Epsom Downs movement 4

Then I added movement with fine liners, coloured pencils, and soft pastels (in that order) – Fig. 14. I think it has good energy and movement of people in space but it doesn’t really show hair, hands or legs movement (apart from dogs tail).

Fig. 14 Epsom Downs movement 4

I decided to try capture both movement is space and movement of body parts. So I took softest pencil I have (10B) and started drawing, smudging and evaluating the effect.

Fig. 15 Shows my first go at detailed cyclist. I wasn’t pleased with that.

Fig. 15 Cyclist 1

Fig. 16 is another go at cyclist, I still struggled to capture movement of the legs and wheels.

Fig. 16 Cyclist 2
Fig. 17 Cyclist 3 development
Fig. 18 Cyclist 3 development 2

3rd time lucky. I used precision rubber on the wheels. I also thought that stripy gradient pattern shows movement is space better (Fig. 19). At this point I knew I will have to draw these people in soft pencil, smudge and erase bits to show movement patterns.

Fig, 19 Cyclist 3

Fig. 20 shows my first go at the walker, I was not happy with this.

Fig. 20 Walker 1

Fig. 21 is another go at the walker. This time the shading and grading is a bit better, showing arms and legs moving.

Fig. 21 Walker 2 development

I then added some shading at the back to show direction of the movement (Fig. 22)

Fig. 22 Walker 2

Fig. 23 and 24 show the runner and development. If you zoom in, you should see ponytail bobbing (I hope I got this right). I was not quite happy with the shades I got, I thought they were a bit too sharp.

Fig. 23 Runner 1 development
Fig.24 Runner 1

I created Runner 2 in Fig 25 using same technique but blended a bit better and added graded stripes at the back to show the movement in space.

Fig. 25 Runner 2

Dog walker was quite hard (Fig. 26 and 27). I was not sure how to show a person who just stopped walking and is looking down at a dog. I hope this captures it. I cannot make up my mind whether this version or one in Fig. 9 is better.

Fig. 26 Dog walker development
Fig. 27 Dog walker

I did not realise dogs are so difficult to draw. I think my first one looked like a small horse. Never mind the body though, I think I captured the movement well, especially the tail wagging (Fig. 28 and 29).

Fig. 28 Dog development
Fig. 29 Dog

After I practiced all people and the dog, I was ready to create my final drawing. I created the landscape using soft pastels over my pencil drawing as in Fig. 3. I wanted to add some colour to the drawing (Fig. 30).

Fig. 30 Final drawing development

Then I added the people and the dog with a soft pencil (Fig. 31)

Fig. 31 Final drawing development 2

After that I smudged and erased to make some areas of movement darker and lighter to capture the movement. I used my finger for general, and cotton bud for ‘precision’ smudging.

Fig. 32 Capturing movement final drawing

Reflection on the task:

It was difficult, my people drawing skills are very rusty. Nevertheless, I really enjoyed creating each drawing, I like to get stuck in and draw. As predicted the contextual study about movement was coming back to my mind. Just smudging is not enough, you need pattern. Pattern is great for conveying the energy of movement but needs grading to give it direction. Movement capture needs a bit of contrast (my dark is smudged, but lighter bits are small and sharp).

Contextual Study Point 1: Movement

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

Add images to your learning log with analysis of the space, including what methods have been used. Eg. form, lines, texture, lighting etc.

1. Galleria Centercity in Cheonan, South Korea designed by UN Studio

Fig. 1 Gallery of Galleria Centercity / UNStudio – 7

The space is a department store, with a food court, an art and cultural centre and roof terrace, so an all in one place to shop, eat and socialise. Fig. 1 shows interior from the entrance looking up. The user entering the space will be enticed to look up by the repetition of pattern on each visible ceiling (edges, lights and what I’m guessing are grooves). The design is repeated but slightly differently on the top panel unit hung just below the ceiling where through curved gaps light seeps down. The platforms look a bit angled, as if not quite level, the interior was designed with an upward exploration in mind. The interior is tall and light with very limited colour palette but by no means boring. The glass balustrades make the space feel more open, at the same time I can imagine they invite to come closer and have a look.

Fig. 2 Gallery of Galleria Centercity / UNStudio – 12

Fig. 2 shows same interior (as Fig. 1) but seen from opposite perspective. Somehow looking down does not seem as exciting as looking up. The patterns are not visible. We can still see shape of the platforms but without the light enhancing them they do not seem as inviting. The opening of the plateaus into the void aid orientation within the space. I think the voids presence and patterns cast by sunlight capture the movement best in this view. We can see repetition of shapes which are identical on each level on the left-hand side and pattern cast by the ceiling panel onto the shiny floors below, filtering the sunlight through, these patterns will move as the day goes by.

Fig. 3 dzn_Galleria-Centercity-by-UNStudio_2

The façade of the building is clad with two layers of vertical mullions which create a moiré pattern effect (Fig. 3). As the viewers position changes so does the pattern on the façade. The architect incorporated visible movement even if it is only optical illusion. The cladding also works as light openings and light shades, it cleverly lets the light in through openings but not too much, which is good for preserving energy on lighting and cooling the space.

Fig. 4 dzn_Galleria-Centercity-by-UNStudio_9

UNStudio designed dynamic lighting effects and animations to be displayed on the façade of the building at night (Fig. 4). This is facilitated by 22000 LED lights installed in the façade.  So even after the sunset the movement is still visible on the façade.

2. Bienville House in New Orleans, USA designed by Nathan Fell Architecture

Fig. 5 07-Rear+Unit-1st+Floor

Fig. 5 shows open plan kitchen/ dining / living room. The interior space has sliding doors in place of two walls, so it fully opens to the swimming pool and outdoor decking. There’s multitude of materials visible, concrete floor tiles, concrete wall cladding, wooden deck and kitchen are made of different types of wood, outside cladding turning inwards and covering the internal ceiling of this space. glass sliding doors framed in black metal, black metal fans hanging from the ceiling. I think the movement in this space is visible in the linearity of materials. They are arranged very straight but at different patterns. The most movement is visible in the ceiling lights: straight, long, narrow, they really stand out against the anthracite ceiling. Their form reminds me of passing lights at night, at high speed; that is what dotted lights in movement would appear like.

Fig. 6 05-Rear+Unit-1st+Floor

Fig.6 shows same space as fig. 5 but in different perspective. We can see the structure of the wood on furniture units. In my opinion the organic patterns of the wood grain have a certain ‘flowy’ sense. of movement. We can also see floor finish in a closer view and the black window profile as a border between inside and outside. I can imagine the fans, moving air will give a very physical sense of movement, not only visual, one could feel the air on their skin. This combined with the ceiling lights will add to the feeling of movement of this room.  I must also mention the chairs next to kitchen island, their vibrant colours make them pop out and it seems as if angled legs might start walking any minute.

3. Opium Pop Up Store (The Flip Flop) at Mumbai Airport, India designed by Renesa Studio. The project is called The Flip Flop because of an ingenious display technique, where the singular shelves on the walls can be flipped open.

Fig. 7 Gallery of The Flip Flop / Renesa Architecture Design Interiors Studio – 1

This design really captured movement. In Fig. 7 we can see it in repetition of black grid on the floor and walls, arched doorways which look like they have been copied and pasted along with the interior (also this shape is repeated in the floorplan), and fluorescent green display units for sunglasses. The ceiling is painted black with a square grid just below, upon which spotlights are placed. The movement is captured by repetition of pattern and contrast of black, white and fluorescent green.

Fig. 8 Image 12 of 55 from gallery of The Flip Flop / Renesa Architecture Design Interiors Studio.

In Fig. 8 the same space is viewed from a slightly different perspective. Here we notice black framed mirrored in hour-glass shape that can be swivelled. I also noticed a sales counter that repeats the shape of doorways and the floor plan. The design looks sharp because of very limited colour palette and only 3 shapes are repeated in a very bold manner.

Fig. 9 Image 16 of 55 from gallery of The Flip Flop / Renesa Architecture Design Interiors Studio.

In the image above (Fig. 9) the movement is captured in the curvature of the wall, emphasized by its contrast to the straightness of the floor. The black gaps on the curve seem to flow towards the lens.

Fig. 10 Image 5 of 55 from gallery of The Flip Flop / Renesa Architecture Design Interiors Studio

In the photograph above (Fig. 10) it seems that the interior is moving, while the viewer is stationary. As on previous images we can appreciate the strictness of the design and the grid size implemented, as well as perfect execution. Here we can also see how the interior relates to the space outside, and interesting patterned ceiling outside. Outside looks almost like it is in another dimension.

4. Polet Restaurant in Moscow, Russia designed by Asthetique this project won Platinum A’Design Award 2020.

Fig. 11 No title 1

In the space above (Fig. 11) the movement has been captured by the use of interesting light fittings in a form or coloured, translucent circles hung at different angles (they seem to be captured half-swing, although I’m sure that isn’t the case), the row of copper lampshades over the counter, three tall and narrow fittings with tube bulbs (across the room)and of course the lit from below airplanes installed on the cement column. The shiny surfaces on the left-hand side and stainless-steel cladding on the column contrast with cement and wood on the floor, and along with the play of daylight across the floor they add to the sense of movement. The ceiling in this high space was left exposed showing all the systems just below.

Fig. 12 No title 2

In the photo above (Fig. 12) we can see cement wall that has carved-in artwork depicting planes next to some abstract parts, it has clean looking edges, and it really attracted my attention, Also here we can appreciate the grand size of the room emphasized by the lights; massive windows with floor to ceiling curtains; white, vertically striped panel past the column and aforementioned carving. I also appreciate the limited colour pallete of copper, blush pink, black, beige, grey and wood. There are multiple textures visible that I think improves the cosiness of this place; rough and geometrically shaped concrete walls and smooth concrete tables, warm wood floors, shiny and smooth metal and glass surfaces and soft and plush seats on copper frames.

Fig. 13 No title 3

In Fig. 13 we can see same space but from yet slightly different perspective. Here we can see how the shades of glass in circular light fitting and glass screen above the counter add to the movement capture. They’re both in pink-coppery-brown shade. The lit-up lines across the circles add interest and contrast with black lines around the glass screens. I can also see the finish of stainless steel better, it is mirror smooth and shiny, it reflects objects nearby. Those reflections are deformed and would move as we move. The strip of spotlights behind the glass screen looks milky-blurred and attracts attention. The visitors can also see into the kitchen which is finished in white tiles with dark grouting, stainless steel, and black accents.

5. Rooftop Office in Dudelange, Luxembourg designed by Dagli+ Atelier d’Architecture. This Office is a showroom extension to HQ of local building engineering firm.

Fig. 14
Fig. 15
Fig. 16

The above 3 images (Fig. 14, 15 and 16) show that interior design does not have to be complicated, busy or ornamental to capture movement. The interior has white walls and ceilings, grey carpeted floor but somehow there is a flow to it. Its secret lies within the grey gradient stripes that either run parallel (staircase in fig. 14 and 16) or meet at a very sharp point (Fig.15).  I selected this space when I saw the photo as seen in Fig. 15. I thought that is movement captured, before I read anything about this project. The only other element that adds to the movement would be the light fittings, long bright lines – they seem to be showing the direction of the movement.

Reflection on the task:

That was something really abstract to research (again). I thought ‘how can you capture movement in something still?’. I really enjoyed researching, looking at the photos and contemplating how was the movement captured. I am expecting, that once again (like with lines) I will become obsessed with the idea of movement in design and start noticing it everywhere. I am looking forward to it.


Abdel, H. (2019) ‘The Flip Flop / Renesa Architecture Design Interiors Studio’ At: (Accessed 11/05/2020)

A Design Award Competition (2019) ‘Polyot Restaurant by Julien Albertini and Alina Pimkina’ At: (Accessed 11/05/2020)

Asthetique Group (2019) ‘Polet Restaurant’ At: (Accessed 11/05/2020)

Archilovers (2011) ‘Galleria Centercity’At: (Accessed 09/05/2020)

Cilento, K. (2011) ‘Galleria Centercity / UNStudio’ At: (Accessed 09/05/2020)

Corvese, A. (2010) ‘Principles of Good Design: Movement’At: (Accessed 09/05/2020)

Ephgrave, O (2011) ‘Dynamic media facade lights up South Korea’ At: (Accessed 10/05/2020)

Etherington, R (2011) ‘Galleria Centercity by UNStudio’ At: (Accessed 10/05/2020)

Etherington, R (2010) ‘Rooftop Office by Dagli+ Atelier d’Architecture’ At: (Accessed 12/05/2020)

Licht, F (2011) ‘Galleria Centercity, Cheonan, Korea_720p.mp4’ At: (Accessed 09/05/2020)

Nathan Fell Architecture (2019) ‘Bienville House’ At: (Accessed 10/05/2020)

Pintos, P. (2019) ‘Bienville House / Nathan Fell Architecture’ At: (Accessed 10/05/2020)

UNStudio (no date) ‘ Galleria Centercity’ At: (Accessed 10/05/2020)

List of illustrations:

Fig. 1 Richters, C. (2010) Gallery of Galleria Centercity / UNStudio – 7. [Photograph] At: (Accessed 09/05/2020)

Fig. 2 Richters, C. (2011) Gallery of Galleria Centercity / UNStudio – 12. [Photograph] At: (Accessed 09/05/2020)

Fig. 3 Richters, C. (2011) dzn_Galleria-Centercity-by-UNStudio_2. [Photograph] At: (Accessed 10/05/2020)

Fig. 4 Yong-kwan, K. (2011) dzn_Galleria-Centercity-by-UNStudio_9. [Photograph] At: (Accessed 10/05/2020)

Fig. 5 Nathan Fell Architecture (2019) 07-Rear+Unit-1st+Floor. [Photograph] At: (Accessed 10/05/2020)

Fig. 6 Nathan Fell Architecture (2019) 05-Rear+Unit-1st+Floor. [Photograph] At: (Accessed 10/05/2020)

Fig. 7 Gupta, N. (2020) Image 1 of 55 from gallery of The Flip Flop / Renesa Architecture Design Interiors Studio.  [Photograph] At: (Accessed 11/05/2020)

Fig. 8 Gupta, N. (2020) Image 12 of 55 from gallery of The Flip Flop / Renesa Architecture Design Interiors Studio.[Photograph] At: (Accessed 11/05/2020)

Fig. 9 Gupta, N. (2020) Image 16 of 55 from gallery of The Flip Flop / Renesa Architecture Design Interiors Studio. ]Photograph] At: (Accessed 11/05/2020)

Fig. 10 Gupta, N. (2020) Image 5 of 55 from gallery of The Flip Flop / Renesa Architecture Design Interiors Studio. [Photograph] At: (Accessed 11/05/2020)

Fig. 11 Asthetique Group (2019) No title 1. [Photograph] At: (Accessed 11/05/2020)

Fig.12 Asthetique Group (2019) No title 2. [Photograph] At: (Accessed 12/05/2020)

Fig. 13 Asthetique Group (2019) No title 3. [Photograph] At: (Accessed 12/05/2020)

Fig. 14 Hempel, J (2010) 8.-im11-3-1024×867 [Photograph] At:×867.jpg (Accessed 12/05/2020)

Fig. 15 Hempel, J (2010) 7.-im10-3-1024×769 [Photograph] At:×769.jpg (Accessed 12/05/2020)

Fig. 16 Hempel, J (2010) 9.-im12-3-1024×688 [Photograph] At:×688.jpg (Accessed 12/05/2020)

Exercise 1.1 Drawing Objects

I arranged a small notebook resting on a Bluetooth speaker.

Continuous line (Fig. 1). I learnt that drawing a straight freehand line is difficult

Fig. 1

From memory – drawing with eyes closed (Fig. 2). The result is unsurprisingly not similar to original objects. I bravely attempted to draw a pattern of holes on top of the speaker.

Fig. 2

Blind drawing – looking at objects not at paper (Fig. 3)

Fig. 3

Negative spaces. Fig. 4 was my first attempt. Then I thought that perhaps I shouldn’t have drawn outlines of my objects, so I completed Fig. 5, Fig. 6 and Fig. 7 (in that order)

Tonal (Fig. 8) – by far this one is my favourite. It best shows the shape and relationship between the objects.

Fig. 8

Exercise 2.4: Space: Plan & Sections in CAD

Firstly I tried to create my floor plan using vectorworks software. I tried using object templates for sink and toilet but later decided they didn’t quite represent the physical items present.

The above is a snip of pdf saved from vectorworks, soon after I deleted the object templates.

I found the software hard to follow, not very intuitive and help explanations used dry language that I found hard to understand. For example I never discovered how to delete part of the line that’s crossing another line (in my example below the wall lines are still present in the doorway, I never discovered how to delete them in vectorworks). I also struggled with saving / printing it to scale 1:20, after measuring my print out the dimensions were a little smaller… The jpeg of drawing below was saved as scale 1:1 in settings, when I was trying to save it in 1:20 I was getting a tiny blob of a floorplan on A4 sheet.

Vectorworks plan drawing

After I couldn’t finish my drawing to my satisfaction, I decided to change software to Autodesk. I found it easier to follow and find help. The only task I’m not sure how I completed on my drawing was the arches for door and cupboard door. There were too many options I tried all of them, I think in the end I drew circles and snipped them to the current edges. Here is my plan completed in Autodesk. Saved as scale 1:1 on A4 but when printed it was still slightly smaller than should have been in scale 1:20. The small blob of a plan was saved with scale set as 1:20. I must admit I was losing my mind over the scaling and printing settings at this point.

Then I moved to my section drawing. Again I created a simple line drawing. In both plan and section I was measuring the dimensions from one object to another by either creating a line of or a rectangle in those dimensions, snapping it to required spot and then snapping my object to a specific point on rectangle or to the end of the line. When doing the section however I decided to create a green rectangle depicting maximum dimensions of the toilet. Here I discovered that my hand drawn section was missing the top of the toilet (flushing system cover).

Then I decided to help myself with some more guidelines, this time in red. The toilet shape was complicated with the angles etc, I found it much easier to draw with that help. I’m not sure if that what my toilet elevation looks like as it’s impossible for me to see, but I’m satsfied it is close enough.

When creating digital section drawing I also realised that my hand drawn section wasn’t showing sink waste pipe and it should have. I included that detail in my digital drawing.

I asked other students how they manage scaling and someone told me they set the scale at the start. So I set the scale at 1:20 when starting work on my section. When I printed it it was still a little bit off, ceiling height was 2 – 2.5mm shorter on the printout, which would give up to 50mm difference in real life. I’m not sure if that’s acceptable, but somehow I don’t think so… I’m happy with the details I created on the sink and tap, and this time the towel warmer is more to scale than on hand drawn section, it was easier to create and amend all details on the computer. Here’s my finished bathroom section A created in Autodesk software, I deleted all my ‘help/guide’ lines and rectangles prior to saving the final version. I also discovered more errors as I uploaded the image here and consulted it with my hand drawn version (the width of the room was wrong. I think I included the wall thickness. I realised it’s wrong by the position of the mirror against towel warmer. I also missed the wall past window opening, all amended).

Bathroom Section A

Lastly I realised that section is worthless without the plan with section line and direction on it. So I went back to my plan drawing and drew section line in red (after carefully measuring on my hand drawn plan where the section line should be on digital one). Here it is:

Reflection on the task:

What a task it has been! I spent 7 days trying to learn vectorworks and creating just a plan and then created all the drawings in just 2 days in autodesk software. I created the drawings in 2d, just simple line drawings, using only 1 layer for now. I realize the process would have been even faster if I was more proficient with the software and extruded the dimensions of each object into 3d, then the section would have been generated by the software at a click of a button. Also once I get more proficient and start using layers I can have guide lines layer that can be switched on and off at a click of button.

I learnt that when doing the survey one should make note of all dimensions, make bigger drawings of details so dimensions can be written clearly and referred to later. I still had to go back to my bathroom and measure some more details that I just measured and drawn in previous exercise. I realise going back and forth won’t be possible when working for a client (unless they allow me to camp on site ha!ha!).

Also when creating digital drawings I discovered errors in hand drawings, and hand drawings helped me discover digital errors.

It is much easier to include small details digitally. For example the door frame is sticking out 2mm off the wall, I included it (not that anyone can see it) but there were other details that otherwise were hard to capture and measure when hand drawing to scale (such as taps or towel warmer).

Also 90 degrees and other angles are much easier to create and be sure they are what the should be.

CAD software is a great tool and I’m looking forward to getting to know it better.

During this and the previous exercises I also learnt that I need a whole new bathroom. I wanted it since moved here but now that I drew it I know exactly whats wrong with it – too long bath tub, too little storage, towel warmer should be radiator and shouldn’t be in a way of the door, hence the whole refit and reconfiguration is needed. When I get more proficient with software I shall design my own bathroom, I’m looking forward to it.

Exercise 2.3: Space: Section at Scale 1:20

To start with I photocopied the floor plan I created in previous exercise. Then I drew section line in red and cut side of the page (so it fits on my A3 clipboard together with tracing paper). I secured them with masking tape and drew guide lines using 0.3mm automatic pencil (only now I noticed I didn’t draw guide lines for sink tap elements). During this exercise I had to go back and forth and measure some more (for example toilet side elevation or under sink cabinet interior elements). I discovered elements I didn’t think I would have to include in this drawing, such as the waste pipe at the back of the toilet or the door handle. I must admit I helped myself by looking at some section images online (bathroom sink and toilet) to get an idea of elements and what they look like. It would have been quite awkward to see these in my bathroom without having to disassemble some of the bathroom elements.

I photocopied the section drawing so I can have a clear copy of it, independent of the plan drawing. I then titled, dated and put scale info on copied page.

Reflection on task

I can see that some of my measurement drawings may not make sense to anyone but me. This was acceptable on this occasion as I was instructing myself. In future when I draw instructions for other I will certainly make sure all information is clear.

Reflection on formative feedback from my tutor (Assignment 2 & Part 2)

I received feedback from my tutor and would like to take a moment to reflect on it.

I received a ‘well done’ for thorough research, variety of examples, my skills are improving and will be useful throughout my studies. It was helpful that I chose to upload some photos of my notebook and sketchbook.

According to my tutor my mind maps showed understanding, ordered my knowledge and also communicated clearly my thought process. I improved my communication and presentation techniques both handwritten and digital. My tutor recommended to continue experimenting with them to gradually develop my own graphic style. I was pleased to learn that my tutor thinks mind mapping became my personal strength, once I overcame that barrier.

I am very pleased my tutor appreciated my observations of similarities of vortexes at Bloomberg and Reichstag buildings.

I should have included more information on Soviet Graffiti in Reichstag Building.

My tutor suggested that in future I should first search for information, and only after for relevant images.

I was told again to qualify big statements and give credible source for that information.

My choice of descriptive words in materials exercises got praised as a good skill for designer to have – I shall continue describing in that creative way.

I should form my own opinions based on information gathered, for example which architects are displaying truth to materials ethos.

Starting on using InDesign software was also noticed, I can see the InDesign uploads have better quality than other software I used beforehand. In my future InDesign work I shall leave a bit more break between elements, and should see magazines etc for guidance.

I should attempt to draw as well as take photos as drawing and sketching of details will make me notice them. Also the more I draw, the more confidence I will gain, which will create good drawings.

In future (if there is another exercise similar) I should create a drawn map of the place with materials pasted in specific locations. That idea is brilliant, it would be sort of floor plan/ collage.

It’s also good that I completed some study visits (sadly all I had coming up soon have been postponed for the time being).

I should pay attention to titles on my work, to make sure everyone knows what it is.

All in all, I’m pleased with the encouraging and constructive feedback I received, praising and setting me in a right direction.

Exercise 2.1: Space: Sketch and Survey and Exercise 2.2: Space Plan at Scale 1:50 and 1:20

For this exercise I selected my bathroom to survey and draw a plan of. I thought the room is quite small and fairly ‘uncomplicated’. Soon I discovered even small rooms have a lot of details in them.

First image above shows my first try, fairly unsuccessful on A3 sheet. I abandoned this page shortly after drawing the tiny floor plan, this was just to get the rough proportions right.

The image above shows rough plan sketch of my bathroom on A3 sheet. Green dimensions refer to walls, red to objects.

The image above shows my unsuccessful attempt of drawing bathtub and sink both in plan and elevation on A3 sheet. I didn’t pay attention to detail and got a couple of things wrong.

The image above shows drawings of bathtub in plan (also magnified part where the taps are) and in side elevation. It’s on A3 sheet.

The image above was drawn on A3 sheet and shows sink in plan, front and side elevation. The front elevation has tap detail larger on purpose, so I could include dimensions of the details there.

The above image shows toilet and towel rail both in plan and front elevation. I drew it on A3 sheet.

I found using different colour pencils for dimensions really helpful. It was much easier getting my head around the drawings.

The above image is drawn on A4 sheet and it is a Plan drawing of my bathtoom in scale 1:50. It was difficult to draw it so small. Looking at how small it is I think I could fit the whole flat on A4 sheet in this scale.

I found the last last drawing really difficult as some details after scaling down were smaller than 1mm. I drew the taps just using my eye, now I think I could have skipped them. They’re most likely not to scale.

I decided to redraw my plan as I think the instructions in course book contained an error and also I will need to complete a section drawing in same scale. I think scale 1:50 would be too small.

I completed the last drawing using automatic pencils in .5 and .9mm, precision eraser, set square, ruler, compass and calculator. I found drawing in larger scale much easier than in smaller.

Exercise 1.1: Object: Sketch & Survey

Sketch of object from above
Sketch of object from front
Sketch of object from the side

Reflection on task

I didn’t read the instructions properly (I think I skipped to next exercise in error) and drew all three elevations to scale 1:1 (sort of, not quite accurate but very, very near). Then I read the instructions properly and measured the object and wrote the measurement down on my drawings. I found this task difficult as there are many random angles, rounded edges, and whole object is well used, filled with paperwork and a bit wonky. I enjoyed it nevertheless and am pleased with the outcome.

London Design Week 2020 (Chelsea Harbour)

I visited London Design Week today. I spent most of the day here and haven’t even scraped the tip of the iceberg of the suppliers that are based here. It was also useful and informative to chat to exhibitors that are here only for the week. I spoke to every one of the temporary exhibitors and learnt lots about their companies and their products. I took part in a discovery tour: a group of us visited certain showrooms and we were told by owners or designers about the products they supply. I never visited Chelsea Harbour before, I found today very informative and I am planning to go back to do more research here.

Exercise 3.3: Vernacular Architecture and Materiality (Epsom & Ewell, Surrey)

Visual Map

Reflection on the task:

I learnt that some buildings ‘try’ to have vernacular style but don’t succeed. For example, in Epsom Area there are many houses that are weatherboarded but painted black, that is not in keeping with local vernacular that should be white. I found the task of researching properties interesting but also difficult as all houses I saw today were built after 17th century. I noticed that many newer buldings are designed to look older, to suit the area and what’s around. Also identifying materials is really difficult – for example timber weatherboarding – it’s timber but which one? Or roof tiles – could be ceramic, slate, clay… how can you tell the difference? Even harder when old and covered in moss. Still lots to learn…

List of illustrations:

Fig. 1 Greenland Travel (year unknown) Stay Overnight in an Igloo. [Photograph] At: (Accessed 04/03/2020)

Fig. 2 Arneil, P (year unknown) Mongolian Ger. [Photograph] At: (Accessed 04/03/2020)

Fig. 3 (year unknown) Osada na Budzowskim Wierchu. [Advertisment] At: (Accessed 04/03/2020)

Fig. 4 Shuttleworth, A (2020) Adelphi Road Epsom. In possession of: the author: Epsom

Fig. 5 Shuttleworth, A (2020) The Watch House Ewell. In possession of: the author: Epsom

Fig. 6 Shuttleworth, A (2020) Building of historic interest Ewell. In possession of: the author: Epsom

Fig. 7 Shuttleworth, A (2020) Mock Tudor Ewell. In possession of: the author: Epsom

Fig. 8 Shuttleworth, A (2020) House in Ewell. In possession of: the author: Epsom

Fig. 9 Shuttleworth, A (2020) Cottage in Epsom. In possession of: the author: Epsom

Fig. 10 Shuttleworth, A (2020) Former Plough and Harrow Public House. In possession of: the author: Epsom


Comberg, E. (2018) 25 Examples of Vernacular Housing From Around the World. At: (Accessed 02/03/2020)

Edwards, S. (2011) Vernacular Architecture and the 21st Century. At: (Accessed 02/03/2020)

The Conservation Studio (2010)

Fewins, C. (2013) What is Vernacular Style?. At: (Accessed 02/03/2020)

Jeffery, D. (2018) 13 Characterful Traditional-Style Homes. At: (accessed 02/03/2020)

Orme, J. (2016) Contemporary Home with Traditional Materials. At: (accessed 02/03/2020)

Salman, M (2018) Sustainability and Vernacular Architecture: Rethinking What Identity Is. London: Intechopen. At: (Accessed 03/03/2020)

The Conservation Studio (2010) Adelphi Road Conservation Area: Character appraisal & management proposals. At: (Accessed 04/03/2020)

The Conservation Studio (2009) Ewell Village Conservation Area Character Appraisal & Management Proposals. At: (Accessed 04/03/2020)

Exercise 3.2 Historical and Cultural Context (Peckham Library)

List Of illustrations:

Fig. 1 All Design (2000) Peckham Library [Photograph] At: (Accessed 01/03/2020)

Fig. 2 Municipal Dreams (1972) North Peckham Estate [Photograph] At: (Accessed 01/03/2020)

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

Fig. 4 Laura Maguire (year unknown) Dolehouse Poster [Poster] At: (Accessed 01/03/2020)

Fig. 5 Olmos, A. (2007) Will Alsop in his south London studio in 2007 [Photograph] At: (Accessed 01/03/2020)


All Designs (year unknown) ‘ Peckham Library’ At: (Accessed 01/03/2020)

Carmona, M. and Wunderlich, F. (2013) Capital Spaces: The Multiple Complex Public Spaces of a Global City (3rd ed) Routledge. At: (Accessed 01/03/2020)

Glancey, J (1999) ‘The pride of Peckham’ In: The Guardian 01/11/1999. At: (Accessed 01/03/2020)

Maguire, L (2013) ‘The Peckham Dolehouse’ At: (Accessed 01/03/2020)

Manchester History (year unknown) ‘Peckham Library, London’ At: (Accessed 01/03/2020)

Open University (2001) ‘Peckham Library and Media Centre’. At: (Accessed 01/03/2020)

Wikipedia (2020) ‘Peckham’ At: (Accessed 01/03/2020)

Wikipedia (2020) ‘Peckham Arch’ At: (Accessed 01/03/2020)

Exercise 2.3: Innovative Materials


During this exercise I researched quite a few up and coming materials. I noticed that main drive with them was sustainability. I was aware prior to starting this course that construction industry is the biggest pollutant, so I’m pleased to see the efforts to improve. I learnt a shocking fact during my research of illuminating cement – cement is second after water most used product on earth. And I learnt that cement’s production is bad for environment due to energy consumed and the harmful substances released in the process.

I quite enjoyed getting to grips with InDesign software, it was my first go at it, and I can see it’s a brilliant program for creative work.

List of illustrations:

Fig. 1 Ceron, A. (year unknow) Microstructure of the light emitting cement [Photograph] At: (Accessed 23.02.2020)

Fig. 2 Ceron, A. (year unknown) Microstructure of a Portland (commercial) cement that produces opaque bodies and light cannot be transmitted inside [Photograph] At: (Accessed 23.02.2020)

Fig. 3 (year unknown) Glow in the dark cement [Photograph] At: (Accessed 23.02.2020)

Fig. 4 (year unknown) They seek to illuminate roads with light emitting cement [Photograph] At: (Accessed 23.02.2020)

Resources: (accessed 23.02.2020) (accessed 23.02.2020) (accessed 23.02.2020) (accessed 23.02.2020) (accessed 23.02.2020) (accessed 23.02.2020) (accessed 23.02.2020) (accessed 23.02.2020) (accessed 23.02.2020) (23.02.2020) (accessed 23.02.2020) (23.02.2020) (23.02.2020)

Exercise 1.5: Precedent Research: Presentation (Reichstag)

Added 26/05/2021 (better quality image)

List of illustrations:

Fig. 1 Klonk, S. (year unknown) Interior of the Reichstag [Photograph] At: [accessed 26/01/2020]

Fig. 2 Chapin, R (1962) Time Map [Map] At: (Accessed 26/01/2020)

Fig. 3 German Bundestag/Neuhauser (year unknown) The dome and roof terrace of the Reichstag Building are a popular tourist magnet [Photograph] At: (Accessed 26/01/2020)

Fig. 4 Field, M. (year unknown) Gallery of AD Classics: New German Parliament, Reichstag / Foster + Partners – 1 [Photograph] At: (Accessed 26/01/2020)

References: (Accessed 26/01/2020) (Accessed 26/01/2020) (Accessed 26/01/2020)

Exercise 1.2: Precedent Research: Focus – the Designer & the Building

The Designer:

• Who is the designer?

• What else have they designed?

• Are they in specific locations?

• What is their design philosophy (by this we mean the designer’s beliefs, approaches and ethos)?

• What are their main influences (culturally, historically, materially etc.)?

• Are you noticing any patterns in the building or across their portfolio of work? Consider shapes, materials, philosophy, cultural references etc.

Fosters + Partners (Foster + Partners Riverside, 22 Hester Road  London SW11 4AN

The practice’s website provides wealth of information about their ethos and lists the designers / architects  involved in each project. Sustainability is at heart of their designs, with energy efficiency and improvement of lives being top priority. The practice has been founded in London, but it is huge with offices abroad, it employs many architects, designers, model makers etc. Their portfolio is massive and I handpicked a few designs of each designer involved in The Reichstag project based on the buildings I thought looked interesting to me.  It is also worth mentioning that none of the designs mentioned in my blog are created by a single person, it is all team effort. I imagine only top people within the designs are mentioned but the teams are bigger than listed since all the projects are so huge and complex. The similarities of the individual designs I picked are round/ rounded designs, very often with cupola or dome, and mostly in glass; sustainability; a lot of glass allowing inside to mix with outside; end user and clients needs at heart of the designs. Where a building is a historic building the practice’s designs have the history in mind and are sympathetic to the building history while dramatically modernising it to match sustainability and user’s comfort and wellbeing (by comfort I mean how the space is used, perceived so it matches current times users’ needs).

People involved in The Reichstag project at Fosters + Partners were Stefan Behling, Neil Vandersteen, Toby Blunt and Ulrich Hamman. I gathered some info on each designer and their work.

Articles I found online about the building design and works by Foster + Partners only list Foster as architect. I’m sure he was involved to some extent in each of these designs, despite his own practice’s website not including his name specifically on any of the specific designs. I will however use his name as it’s used in articles I found, even though each design and process must have been a team work effort.

Norman Foster.
Image sourced from (accessed on 27.12.2019)

Norman Foster Founder and Executive Chairman Design Board Chairman Architect – Dip.Arch & Cert. TP, M.Arch  (not directly involved in this project, according to his practices website, however I find it important to explore him as I imagine he sets direction for the whole office of designers that work for him).

He founded the practice in 1967 and his philosophy is (in broad terms) sustainability, belief that our surroundings affect our life, and better quality surroundings result in better quality life. He is passionate about innovation. I imagine that due to his drive to excellence, he has a high standard and high expectations and as a reult the practice is well known and successful under his leadership.

Stephan Behling – Senior Executive Partner Head of Studio Dipl.-Ing Arch, ARB, RIBA, joined the practice 1987

Stefan Behling.
Image sourced from (accessed 22.12.2019)

Stefan’s philosophy is sustainability and integrated design, he pioneered many new technologies in energy efficiency and resource management. Examples of these include his current projects: the 12,000 capacity Apple Park, Apple’s global headquarters in Cupertino and many of the new Apple flagship stores around the world since 2012. Completed projects include UK’s most sustainable office building: Bloomberg European HQ in London. He is an experienced architect with established career, the portfolio of his work is vast.

Apple Park Visitor Centre.
Imaged sourced from (accessed on 27.12.2019)

Apple Regent Street in London.
Image sourced from (accessed on 27.12.2019)

Apple Regent Street in London.
Image sourced from (accessed on 27.12.2019)

Apple Regent Street in London shows modern, sustainable design that is sympathetic to the historic building. It features high ceilings (7.2m); longest luminous ceiling panels that emit dispersed natural light. Ficus trees planters double as seating benches. The store opens to the street, creating effect of town square.

Bloomberg European HQ in London.
Image sourced from (accessed on 27.12.2019)

Bloomberg European HQ in London.
Image sourced from (accessed on 27.12.2019)

Bloomberg European HQ in London is currently the most energy efficient office building in the world. I saw it once passing by, I remember I was impressed by the striking design of the facade. There is a vortex like design in the photo above. I noticed a vortex design in the dome of The Reichstag building.

Neil Vandersteen – Senior Partners Head of Modelshop Industrial Modelmaking

Neil Vandersteen.
Image sourced from (accessed on 27.12.2019)

Neil Vandersteen joined Foster + Partners in 1989. He modernised the practice’s Modelshop so it’s one of the most advanced internal modelmaking facilities in architectural practice. He worked on a few projects within the company The Reichstag, 30 St Mary Axe, Great Court at The British Museum and Hong Kong International Airport.

30 St Mary Axe (commonly known as ‘The Gherkin’) in London.
Image sourced from (accessed on 27.12.2019)

‘The Gherkin’ was London’s first ecological tall building. It comes as no surprise since sustainability is mentioned on the profiles of so many designers on practices website. It has a circular base and the building’s shape reduces wind deflections at ground level, creating more comfortable environment there.

Great Court at The British Museum in London. The dome appears as if it was dropped onto a giant pillow.
Image sourced from (accessed on 27.12.2019)

Great Court at The British Museum in London. Striking glass roof, letting plenty of light through, casting interesting pattern, looking modern and being sympathetic to historic part of the building.
Image sourced from (accessed on 27.12.2019)

Toby Blunt – Senior Partner Deputy Head of Studio BA (Hons), Dip Arch

Toby Blunt.
Image sourced from (accessed on 27.12.2019)

Toby Blunt Joined Foster + Partners in 1995. His award winning projects show his interest in sustainable materials, innovative technologies and building techniques. He was involved amongst other projects in Canary Wharf Underground Station in London, Bund Finance Center in Shanghai and The Reichstag in Berlin.

Canary Wharf Underground Station in London.
Image sourced from (accessed on 27.12.2019)

Canary Wharf Underground Station in London.
Image sourced from (accessed on 27.12.2019)

Bund Finance Center in Shanghai.
Image sourced from (accessed on 27.12.2019)
Bund Finance Center in Shanghai.
Image sourced from (accessed on 27.12.2019)

Bund Finance Center is a mixed use, 420 000 square meters development of 8 buildings containing offices, hotels, cultural centre and retail centre, all luxurious / premium and all surrounding a public piazza.

Ulrich Hamann – Partner Architect Dipl. Ing. Architect

Ulrich Hamann joined the practice in 1994 and in the beginning was involved in projects based in Germany (The Reichstag, Free University and Lenbachhaus). He worked as a cladding and envelope expert on Apple Park in Cupertino and is currently in charge of multiple Apple store projects throughout North America. Sustainable design is his particular interest.

Free University in Berlin.
Image sourced from (accessed on 29.12.2019)

Free University in Berlin.
Image sourced from (accessed on 29.12.2019)

The Reichstag Building

• What was the designers concept for this particular building interior?

• Why do they use these methods?

Initial design didn’t include the glass cupola, instead had a cushion like steel and glass canopy over the building. However the project cost reduction was requested (without providing the actual budget) so the practice submitted a few different proposals with varying sizes and budgets and one of these has been selected for construction.

Initial design.
Image sourced from (accessed on 29.12.2019)

The winning design didn’t initially include the glass dome. Certain MPs demanded reconstruction of original dome. Foster was against this idea, but soon he considered glass cupola to replace original dome.

Reichstag houses German Parliament and each design decision had political significance and decisions were subject to political debates. The design process must have been difficult and lengthy since many people had opinions on what it should be done. It was a demanding client with often contradicting demands and final design shows Fosters ability to find a compromise.

Fosters concepts included:

  • Cupola – publicly accessible space, providing visual connection the the parliament at work below. Cupola’s design aided the sustainability of the building by providing light to parliament chamber and venting hot air outside thanks to the mirrored cone the in the centre
  • Design consolidated parliament into a singular building
  • Preserved the history of the building such as Russian Cyrillic graffiti  left by Soviet Soldiers at the end of WW2, or the bullet marks on the façade.
  • Symbolism of the politicians and the public entering through the same entrance under the sign ‘To the German People’ – the parliament building is not only for politicians, Parliament serves the people, the building should also be for the people.

List of illustrations:

Fig.1 Foster + Partners (year unknown) Bloomberg European HQ in London [Photograph] At: (Accessed 27/12/2019]

Fig.2 Foster + Partners (year unknown) 30 St. Mary Axe in London aka ‘The Gherkin’ [Photograph] At: (Accessed 27/12/2019)

Fig. 3 Foster + Partners (year unknown) Great Court at The British Museum in London [Photograph] At: (Accessed 27/12/2019)

Fig. 4 Foster + Partners (year unknown) Great Court at The British Museum in London [Photograph] At: (Accessed 27/12/2019)

Fig. 5 Foster + Partners (year unknown) Canary Wharf Underground Station [Photograph] At: (Accessed 27/12/2019)

Fig. 6 Foster + Partners (year unknown) Free University in Berlin [Photograph] At: (Accessed 29/12/2019)

Fig. 7 Foster + Partners (year unknown) Reichstag initial design model [Photograph] At: (Accessed 29/12/2019)

Fig. 8 Foster + Partners (year unknow) Dome options models [Photograph] At: (Accessed 29/12/2019)

Fig. 9 Foster + Partners (year unknown) Reichstag Final Design [CAD drawing] At: (Accessed 29/12/2019)

Fig. 10 Foster + Partners (year unknown) Apple Regent Street in London [Photograph] At: (Accessed 27/12/2019)

Resources: accessed 22.12.2019  accessed 22.12.2019 accessed on 22.12.2019 accessed on 22.12.2019 (accessed on 22.12.2019) (accessed on 22.12.2019) (accessed on 22.12.2019) (accessed on 22.12.2019) (accessed on 27.12.2019) (accessed on 27.12.2019) (accessed on 29.12.2019) (accessed on 29.12.2019) (accessed on 29.12.2019)

Arts & Crafts and Modernism

Annotated picture map.

Resources (accessed 08.12.2019) (accessed 08.12.2019) (accessed 08.12.2019) (accessed 08.12.2019) (accessed 12.12.2019) (accessed 15.12.2019)

Assignment 1: Reflection

I found all exercises interesting.

My favorite was Contextual Study on Daniel Libeskind’s Jewish Museum. I learnt that sometimes the designer intends to make users feel uncomfortable.

I found the whole of Peckham library quite difficult to analyse. There were many components, the design felt complicated and busy. It was hard to choose what to concentrate on. I still liked the interior and found all exercises there useful. Reflecting back on my visit to Subsea 7 and Peckham Library I think Subsea 7 was easier space to analyse. I am pleased now that I had a ‘warm-up’ there, before the difficult space of Peckham Library.

Looking back at drawing exercises: I had no problems drawing what I see, mapping the interior was quite fun and easy. I wish I brought bigger sheets of paper to Peckham Library to include more elements in my map.

Drawing sounds was a daunting experience, but once I started it went OK. I learnt to leave my comfort zone and trust the guidance. It was important to better understanding of the space – to cut of vision and just listen and feel.

3D model making was surprisingly easy. I’m a little concerned it was too easy, hopefully I did it correctly.

All exercises led me being more aware of spaces I visit. I gained experience of looking at single components and considering the impact they have on the whole space.

Exercise 2.5: Visualising ‘Atmosphere’ through Sketch Models (Peckham Library)

I gathered some materials, not knowing which of them I’ll need. Just collected some scraps I was hoping will be useful for this exercise.

I had a look through my drawings from my second visit to Peckham Library. At first I was going to try and recreate this drawing into 3D sketch model:

Well I Was actually going to try and recreate the pod alone. So to start with I made a loose, irregular ball using bubble wrap, sellotape, and wrapped the whole lot in some nets from citrus fruit.

After I made it I decided it won’t represent the atmosphere sketches as the drawing was of an actual object, not of atmosphere or experience. So I decided to use it to make a model of this drawing:

Below are photos of a model I made using the bubble wrap, sellotape, plastic straws, citrus fruit nets, cardboard, ribbon with fluffy balls.

As promised in the course book the exercise got easier as I got going. So I decided to make a sketch model of another drawing.

I made the model using cardboard, bubble wrap and sellotape.

Lastly I made the model of this drawing which represented columns and their odd angles.

I made it using cardboard, hole punch and straws.

Exercise 2.4: Material (Peckham Library)


The exterior of the pods is covered in natural colour, thin, flexible looking timber slices. I’m guessing it’s plywood. They are attached with metal staples.

The legs are made of smooth, very light grey concrete.

There are also black window frames, I’m guessing metal. And glass within the windows.

Lights built into the base, shining below are metal and plastic.

There’s a metal staircase with worn wooden steps leading to the middle pod.

The columns are steel painted sheen black. They’re smooth. They are dusty in higher parts.

Windows: glass panes within black metal frames. Even the glass walls are consisting of smaller panes (still quite large, the sizes of walls are vast) framed in black metal.

The rear of the building has many coloured glass windows.

Bookcases are made of metal, painted black. Smooth surfaces and sharp looking edges.

There’s a carpet on the floor, hard wearing type. It has geometrical pattern of blue and black with cream specks.

I think the walls are covered in plaster, painted white.

The high ceiling has an open work pattern, as if for ventilation. It’s white. Towards the edges there a gap around that lets the light in.

Ceiling above middle pod. Structure on the roof looks like the other pod is extending through the roof.
Ceiling in children library has unusual design, looks concrete.

Exercise 2.3: Form & Light (Peckham Library)

Look at the forms and shapes in space, make sketches and notes.

Forms & Shapes

Windows have interesting unusual shapes. They are either long and narrow or very large trapeziums.

I’m still impressed by the pods forms, the middle one dissapears into the circular opening in the ceiling, looks like a space ship about to take off.

The back columns are at interesting angles, none of them is at straight angle but from certain perspective some of them seem that way. Initially it made me doubt myself and my initial belief which turned out to be right.


Near the window there’s plenty of natural sunlight. The trapezium windows are large and placed high up, they let plenty of day light in. A little deeper in are the pods, they create shady areas, block the natural light. There’s plenty of spotlights, but the artificial light can’t compete with unobstructed daylight.


Exercise 2.2: Touch, Smell & Emotions (Peckham Library)

Sounds: Created by other visitors to the library, talking, walking, placing items on surfaces. I think this place is a little loud for a library.

Touch: I’m sitting near the window, the sun is shining on me. Feels nice and warm. Then the clouds arrive, it’s not so warm anymore, not uncomfortable, but I preferred the sunshine. I’m siting in a plastic chair, reasonably comfortable, but not amazing. I can feel plastic surface of the table, smooth but a little grainy. It’s temperature is neutral.

I’m feeling relaxed but not too comfortable. I’m blaming plastic furniture.

Below is the drawing of my feelings as described above. I found it quite difficult, drawing sounds seems like a piece of cake in comparison!

After I completed this drawing I moved to a new area, the quiet zone under pod where the computers are.

It was darker there, also quieter than other area but could hear people nearby talking. Also someone tapping on the keyboard. A small child nearby (in the pod above me?) shrieking.

Touch: same surfaces as before, smooth but grainy plastic surfaces. Temperature is comfortable, I’m wearing my coat, without it I would probably be a bit chilly.

I’m feeling less comfortable in this area but still calm and fairly relaxed.

Here’s a drawing depicting the above.

Exercise 2.1 Soundscapes (Peckham Library)

I visited Peckham Library again today. They let me in before they opened so I could take some pictures. My ‘listening experience’ drawing started before opening times, so the sounds I heard were created by library staff. I closed my eyes and tried to draw what I was hearing…

I’m pleased I brought an a4 pad this time, drawing sounds requires good space

Then the library opened to the public for the day, people started to come in, the place got louder, the sounds changed. At first it was mainly staff on the phone, people walking, someone hoovering in the distance. Suddenly it got crowded, place got instantly busy. Loud talking, multiple conversations at once, steps everywhere, squeaking floorboards, items laid out on tables, rustling of paper, someone sighed.

In the drawing above I pictured steps as circles, voices as twirly lines, sharp noises as sharp angular lines. I drew them as I heard them, in order.

Contextual Study 2.1 – Phenomenology

Critically reflect on the concept of phenomenology.

Designers have to explore and have in mind emotions different people may have in the spaces. It must require sensitivity, compassion. The designers must be able to predict how users will feel. It’s a very difficult job as everyone is different and has differ