Category Archives: Coursework

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Fig. 34 – 35

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

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

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

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

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

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

List of  illustrations

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Some questions to help get you started could be:

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

Reflection on the task

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

List of illustrations:

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

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

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

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

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

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

References:

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

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

I selected one-point perspective drawing from exercise 3.1, I think it was a ‘better’ drawing of the two. I copied it using a 0.3 HB automatic pencil for both methods.

Method 1:

I used a 9B pencil and smudged it to create my shades. To add light and patterns I used rubber

Method 2:

I used fine liners where I wanted the colour more intensive and coloured pencils and pastels for more muted colours. The room has a very calm colour scheme, mainly grey and white, with pops of colour in the artwork, I wanted my drawing to represent that. I used grey charcoal and black and grey pastels to create shading and rubber and white and very light blue pastels to create light.

I really enjoyed this exercise. Especially the part when I was looking for shadows and patterns cast by daylight coming through the shutters and trying to rely this onto my drawing.

Two point perspective is much more difficult than one point. I really struggled with the window recess. At first I selected a different corner of the room, but then I decided sofa makes it really complicated, so I changed the corner. Here’re my less successful attempts.

My final drawing below:

As in previous exercises I needed to do some ‘warming up’ of the hand and the skill. The three drawings below I started and abandoned as I was unhappy with the results.

Then I decided to make the wall I’m facing smaller and it went smoothly from there. It was quite difficult, especially trying not to use a ruler. I think I should have used it for shutters, radiator cover and floor pattern, the drawing would have a better perspective. However the not so straight lines seem to look good, like there’s more ‘life’ there. My final drawing is below, I’m pleased with the result, it was a useful exercise.

Reflection on the task

That was a difficult exercise. I think the drawings in exercise 2.2 look more realistic than exercise 2.1 (with exception of marble which gave comparable results in both exercises). The main positive of exercise 2.2 was ability to use colour which helped make the material look more realistic. Being able, have to time to erase bits also helped. Different mediums helped to rely the texture better. Longer drawing times gave me time to rely hardness (or squishiness) and shine (or its lack) and whether its smooth or rough. The hardest one was leather and polished chrome.  Pencil was great for marble and wool fabric. I used pencil and grey soft pastel to convey polished chrome, I’m not sure if the result is convincing. Just soft pastels created concrete. Mix of coloured pencils and soft pastels worked great for timber, sponge, glass, and brick while watercolour paints worked wonders on the jelly. Some of these longer drawings were fast (concrete, wool, marble) while others needed more time and attention (sponge, jelly) due to more detailed structure. Being able to use different media helped to convey more detail. Some of the materials I wish I could make a collage off (leather, polished chrome, brick).

20 seconds was not long enough for most of them. It was good exercise for quick thinking about the textures etc. Some of them are quite hard to draw realistically without colour.

This was my first go at Photoshop. I photographed my previous drawings and collages and copied and pasted part of them to create the version in Fig. 1.

Each part of my collage was a separate layer and I played with settings changing hue, saturation, vibrance etc. The result can be seen in Fig. 2

I liked version 2 more than first one, it looks more interesting and vibrant, has more ‘life’.

Then I decided to add some shadows, here they are in Fig. 3

I enjoyed this exercise and my first steps with the software. It is a complex program and I’m looking forward to getting to know it better.

I decided to keep my objects from previous exercise.

I gathered different scraps of paper and various drawing materials.

Method 1: Drawing using different media

Fig. 1 below shows my objects drawn with charcoal on brown paper. This is first time I used charcoal, I found the process messy. I think charcoal can be useful in creating tonal or mood in visuals.

Next I used some white cardboard and drew using permanent marker. It was interesting to see how cardboard soaked up the ink from the marker, sort of ‘spilling’ on the surface (fig. 2).

Fig. 3 drawing was done with coloured pencils on white paper. It is a technique I was already familiar with. I was pleased with level of detail on the cover I could include.

I used kitchen towel and felt tip pens to complete the next drawing (Fig. 4). The towel was soaking up the ink. I drew over a white piece of paper and some of the ink left a pattern on the underlay. I must remember this; I quite like the effect there (Fig. 5). I think the dots in Fig. 5 would be a perfect top of the speaker in negative (white dots on blue background)

Fig. 5

I used fineliners on greaseproof paper to draw Fig. 6. I was able to smudge while fresh or leave it to dry. It was first time I used this technique.  I made an error on top of the speaker, but this is one of my favourites in method 1. The writing on bottom was completed in permanent marker, we can see how different it is here (washed out) than on cardboard in Fig. 2.

The final drawing in method 1 was completed with soft pastels on white paper. I haven’t used pastels for a very long time, it probably wasn’t the ‘right’ technique, but I just drew with them on paper and then smudged. We can see where I didn’t wipe my finger and made a black smudge on the left hand side. I don’t think it matters though, I like this drawing too, the colours and even the details, a bit smudged but still showing clearly enough.

Method 2: Collage

I used some string, facial tissue, navy napkin; with textured edge used for the top, and smooth middle for the body of the speaker. Sadly the texture mostly disappeared when I treated it with glue. The background is from Hilarys advertisement sourced from Ideal Home Create Your Dream Bedroom extra to Ideal Home magazine issue November 2019 (Fig. 8).  It was difficult to glue the string and soft tissue and napkin. I may need to research and get some craft glue.

I created the following collage (Fig. 9) using cut outs from the Ferment Magazine (March 2020 issue)

Method 3: Mixed media drawing including collage

To create Fig.10 I used most of techniques I just tried in two previous methods.

The notebook is drawn using pencils and fine liners, the pages bit: I used the actual page from the notebook cut it into smaller longer pieces and pasted in the middle. The speakers’ mid body is pasted blue napkin, top and bottom and the napkin are coloured with pencil, fine liner, and soft pastels (this time applied to finger, then paper). I used permanent marker for black details and pastels for shading all over.

I think I should include a photo of my still life arrangement so here it is in Fig. 11

Reflection on the task:

I thoroughly enjoyed the task. It was a good experience of discovering different techniques I would not normally use. The most surprising and satisfying outcome was the fine liners on greaseproof paper. I can see how different techniques could be applied, depending on the intended outcome. I understand that I should continue practising different methods to be able to confidently apply them in my visuals. I could see the more drawings I completed the better they got, so… practice, practice, practice!

I selected my space and decided to complete this exercise using autocad.

Firstly I copied my floorplan autocad drawing, rotated it 45° and started drawing the walls upwards. This time I looked into creating layers and created a ‘red’ layer for my walls. In the process of creating walls I selected my base floor plan to be more transparent for visual purposes. Fig. 1 and fig.2 below show some of the steps in the process.

When I finished I saved it as pdf in two versions, fig. 3 shows all layers, I think it’s interesting to see how the original plan relates to the planometric projection (unfortunately at this point I didn’t work out yet I can set it to show transparency on pdf as in software), fig. 4 shows ‘proper’ planometric projection of the space. Im not happy with either of those below, the line colours are wrong, no idea why, I figured it out later on (following day).

I decided to explode the objects within the space to practice using the software. It was quite a labourous exercise, spent better half of day exploding 4 objects in planometric projection. In the images below (fig. 5 – 7) I show part of the process for the sink and toilet (toilet was the hardest, I guessed some of the shape, otherwise it would probably take me a few days). I used dashed line layer when drafting some of the details on the toilet.

When I finished I changed my red layer colour to black and saved pdfs showing different layers.

Fig. 8 shows all layers, fig. 9 planometric space and exploded elements, fig. 10 just planometric projection of space.

Reflection on task:

I found this task enjoyable, despite being time consuming. It helped me understand how the angles work against each other and how the objects are placed withing the space. I skipped a few things such as the visible side of the bath (I’m sure it’s not boxed in like in my drawing) or thermostats on the towel warmer. I am pleased with the level of detail I included. I also found this exercise beneficial for my autocad skills, but still long way to go…

At first I thought that correct way to complete this exercise is to create 3D objects and then view them in planometric. So I went on to create my objects. For the cubes I created first square (3000 x 3000mm) and then extruded it 3000mm upwards. Then I created another square 3400 x 3400mm and extruded it 3000mm upwards. Then I placed smaller cube inside the larger and subtracted so I had my wall thickness of 200mm. After that I copied the whole object and rotated one of them at 45° and the second one at 30°. Then I selected the view from front and top. At this point I thought I had planometric view but didn’t check the angles.

After that I went to top view again and created my cylinder, in similar way, created my circles, extruded them, then placed one inside another and extracted. Again I viewed all three objects from top and front and this time I noticed that my circle became oval, so I checked angles on top square (by placing my square on computer screen) and they weren’t straight angles.

Also the lines were rugged and in my pdf they were different thickness. I have a feeling it has something to do with that fact that these are 3D objects…

Here’s my incorrect work (Fig. 1 and fig. 2):

I have done some online research on how to create planometric view in both Autocad and vectorworks but with no luck. I read the bits in course book again, and it said that planometric view is not ‘real’ so at this point I decided I just need to do a 2D line drawing to depict what I drew by hand. So I started in similar way by drawing two squares (I found squares created by using connected lines easier later when deleting not needed lines), but this time I didn’t extrude anything, just rotated them and drew upwards lines from each corner, then I snapped another pair of squares on top. After that I deleted all lines that should be invisible, it was a little tricky, but found it easier to get my head around if I first deleted lines that crossed top edge of the wall. The cylinder I created in a similar way, with difference of no need for rotation. I had to create some guidelines to snap my top circles correctly. Below is the process of creation of cylinder (Fig. 3 -7) and the result of all three objects in planometric view (fig. 8).

Reflection on task:

I learnt in practice that planometric projection is not a real view of space or object. Good lesson today.

Cube: planometric projection at 45° angles:

I started with drawing a horizontal line and first, smaller square at 45° angles to the horizontal line. After that I drew diagonal lines through the middle of my square, in order to measure the bigger square measuring 4mm away from outside corners of the smaller square (fig. 1).

Then I measured 4mm outside of two corners and marked them on the diagonal line. After that I connected the points (Fig . 2).

Then I connected remaining points while measuring and ensuring I retain 90° angles using my set square (quite handy these guides on see through set squares). Fig 3 below shows it didn’t go quite to plan, but I realised and amended by marking 4mm outside bottom corner of square and redrawing the line while ensuring the right angle (Fig. 4)

Then I drew vertical lines to ‘explode’ my cube up and using compass to measure the distance from each corner I marked its height (Fig. 5).

After that I connected the remaining lines, erased what should not be visible and my finished drawing can be seen in Fig. 6. It reminds me of art deco pattern when looked at straight on.

Cube: planometric projection at 30°/60° angles:

I started by drawing a horizontal line and then left line at 30° and right one at 60° (Fig.7).

Then I used my compass to measure and mark the lengths of the squares lower sides. After that I marked the top corner of the square measuring with compass from the marked criss-cross points (Fig. 8)

I drew my lines longer on purpose for easy marking with compass (Fig. 9)

Then I connected the edges of larger square while measuring the right angles (fig. 10).

After that I erased ‘internal’ lines between the squares and drew vertical lines at 90° to the horizontal line (Fig. 11). I must admit it all looked a bit skew to me at this point, but I carried on anyway.

I measured and marked ‘top’ squares using compass again (Fig. 12 and Fig. 13). I find using compass much more accurate than measuring same distances with a ruler each time.

I connected corners of lower and upper larger squares. It looked even more off at this point. (Fig. 14)

I erased non-visible lines and Fig.15 shows the result of the process. Looks better and less skew than with all the lines in place.

Cylinder: planometric projection:

I drew my cylinder in a slightly different way than the course book instructed but I measured my radius at 1500mm (in scale 1:50) so my smaller circle would fit inside square 3000 x 3000mm.

I started with drawing horizontal line, then a line at 90° angle to it. I measured the radius of my circle on that last line, marked it and drew my circle from there (Fig 16).

After that I marked the middle of upper circle and drew it using same measurements as for lower circle. Then I changed my radius (extra 200mm so 4mm in my scale) and drew two larger circles. At this point I decided to draw horizontal lines (parallel to the first line) to see the ‘meeting’ points of circles and vertical lines that connect them. Then I drew these vertical lines. (Fig. 17 and Fig. 18)

After that I erased the non-visible lines and Fig. 19 shows my finished drawing. I found cylinder much easier and faster to draw than the cube.

Reflection on the task:

I enjoyed this exercise, but I think it will be easier to be accurate in CAD where a point is really a point, on paper despite being small it still has dimensions…

Also it was interesting after the contextual study about lines. Guidelines helped to create plotlines, but sometimes I was extending the plotlines so they were half plotlines, half guidelines…

I think the main difference between axonometric and planometric drawings is where you view the space from. In planometric you’re viewing plan so from above and at angle, often the nearest walls are removed. In axonometric it is usually more from the side then from above at an angle. In planometric roof or ceiling are removed, in axonometric the roof is on or off, or may it be exploded up. It is very hard to tell them apart, I’m not quite sure if my examples are right.

Update 15.04.2020:

After drawing my planometric drawings for the next exercise I think I know how to tell the difference between isometric and planometric projections:

Planometric retains the true angles of the objects floor (and dimensions)

Isometric retains the dimensions but angles change.

Fig. 1 Guadaliquivir House / Derive LAB (2016) Axonemtrico Planta Baya. (CAD Drawing) At: https://images.adsttc.com/media/images/5c7d/5280/284d/d10e/c400/001d/slideshow/Guadalquivir_House_d%C3%A9rive_LAB.jpg?1551716987 (Accessed 14/04/2020)

Fig. 2 Panorama Estudio (2015) Casa Aidar axonometric (CAD drawing) At: https://images.adsttc.com/media/images/5c7a/e31a/284d/d1e0/d300/009e/slideshow/Casa_Aidar_Panorama_Estudio.jpg?1551557397 (Accessed 14/04/2020)

List of illustrations:

Fig. 1 Urban Shelter / MYCC (2013) Exploded Axon. (Exploded axonometric drawing) At: https://images.adsttc.com/media/images/5242/de63/e8e4/4e67/bf00/007f/large_jpg/Exploded_Axon.jpg?1380113997 (Accessed 14/04/2020)

Fig. 2 Logical Process in Architectural Design (2016) Architectural Design Based on Void Volume. (Exploded axonometric drawing) At: https://images.adsttc.com/media/images/584a/d73c/e58e/ce64/7c00/0214/slideshow/Mohammad_Kebab_-_Logical_Process_in_Architectural_Design.jpg?1481299765 (Accessed 14/04/2020)

Fig. 3 Hogrefe, A. (2012) Exploded Axon | Visualizing Architecture. (Exploded axonometric drawing) At: https://visualizingarchitecture.com/wp-content/uploads/2012/10/exploded_axon_sketchup_linework_alex_hogrefe.jpg (Accessed 14/04/2020)

Task:

1. Access Chapter 6: How the Line Became Straight, Lines by Tim Ingold, 2016 from [link]
2. Do a close reading* of the chapter above to explore the theoretical notion of lines and their relevance to design.
3. Create a mind map that explores Tim Ingold’s theories and using your learning log critically reflect on the argument that he is presenting.
4. Reflect on the activity and what you have gained from doing it

At first I printed the pages and read it all to understand the main content. Then I re-read and underlined certain, most important in my opinion parts and made notes in corresponding colours.

Critical reflection on the argument:

I found the argument presented in the text quite philosophical, despite containing many facts. If we consider that an absolutely straight line doesn’t physically exist, then we can only dwell on its theory. After reading the chapter I think the only example of straight line that exists will be a ray of light, but that’s not something that can be easily seen, touched or drawn.

The author, Tim Ingold presents us with many facts and theories such as straight line being associated with the human ‘stuff’ such as mind, civilisation and science while curved line can be associated with primitiveness, nature and matter. There are many common conceptions based on straightness and non-straightness such as thinking straight, crooked or twisted mind.

Straight lines are created by humans while curved by nature. Straight line is associated with male and curved with female.

 Too much straightness creates yearning for wilderness. We can experience that in the modern cities where skyscrapers dominate with their linear designs and there is little or no greenery, people generally don’t find this welcoming or pleasant. We need curvaceous nature for our mental wellbeing.  

The author explores the ideas of guidelines and plotlines where the plotlines are the actual lines and guidelines are essential to creating the plotlines. After reading the text I believe that no plotline can exist without the guideline, even if the latter has since been erased or made invisible.

There are similarities between architectural and musical sketches and drawings in regards to guidelines, plotlines and creative process.

The ruler has its own section in the text, it is an important tool, enabling drawing almost perfectly straight lines. Drawing with a ruler (or using a software) is a workmanship of certainty where the outcome is predetermined but the final drawing lacks movement and life. Sketching is a creative way of drawing (workmanship of risk) where the final result is unpredictable and the outcome changes throughout the process that can be tracked.

I learnt from the text that most architects prefer drawing to writing, and they only write what cannot be drawn. They use freehand sketches to develop the ideas and measured and ruled specification drawings afterwards to instruct the builders.

Straight line is an icon of modernity while fragmented line is a symbol of postmodernity. Curved lines are often called organic.

Seems that most important quality of lines is that they are open-ended such as our lives, train of thoughts and histories…

Reflection on the task:

I found this task difficult. I found the text philosophical and hard to rely, however writing down the ‘important bits’ on my map helped me get some order and re-word the main ideas from the text. The most difficult part of the task was to start typing out my critique. I learnt from this task that I just need to get on with it, and once you start the words flow and with help of some notes you can dwell on any subject, even the philosophical one. I came up with my own observation on straight and curved line when exploring the ideas of sketching and drawing straight lines and how the outcome is predetermined or not depending on the type of drawing: The exclamation mark is a straight line while a question mark is a curved one – certainty and question…

Is beauty universally appreciated? I don’t think so. I believe that same buildings design can be loved by some and hated by others. There isn’t one rule for everything. Whether the architecture is deemed beautiful will depend on many factors such as design trends, how old and well kept the building is, how it refers to its surrounding, but most importantly how the user perceives it. Symmetry is not always desirable, I heard once that things look best in threes. But that is just another opinion. Some people like circular spaces, some prefer rectangular or triangular. Some like symmetry and grid like arrangements, while others like asymmetry and irregular shapes. For example, Peckham Library has all strange angles, irregular shapes of the cladding on the outside and windows within it, and of course the pods, each of them slightly different than the other two. This buildings design seems to follow no rules, yet in my opinion it is strangely beautiful. On the other hand, the golden rectangle seems to have a nice proportion to it. I think a rooms size based on golden rectangle may make it easier to zone and furnish (providing it is a rectangle large enough). I think I will learn as the course goes that we can use whatever rules suit our future clients.

Resources:

https://www.bl.uk/learning/cult/bodies/vitruvius/proportion.html (accessed 17/03/2020)
https://www.britannica.com/biography/Vitruvius (accessed 17/03/2020)

https://www.google.co.uk/amp/s/amp.theguardian.com/artanddesign/2009/jan/05/architect-andrea-palladio (accessed 17/03/2020)

https://www.britannica.com/biography/Le-Corbusier (accessed 17/03/2020)

https://blog.artsper.com/en/a-closer-look/lesson-style-le-corbusier-lesprit-nouveau/ (accessed 18/03/2020)

https://www.goldennumber.net/un-secretariat-building-golden-ratio-architecture/ (accessed 19/03/2020)

https://www.youtube.com/watch?v=U_ZHsk0-eF0 (accessed 19/03/2020)https://en.wikipedia.org/wiki/Farnsworth_House (accessed 21/03/2020)

I found this task really hard, I kept getting the lengths wrong and now the eraser is my best friend. I tried using scale ruler but for this exercise I chose just normal ruler as many lenghts after dividing were coming to 0.5mm and scale ruler wasn’t that exact. The side elevation was particularly hard I had to go back and remeasure quite a few things that I didn’t note during two previous exercises. My left arm is sore after pushing the ruler hard onto paper to make sure my lines are straight. I discovered since the drawings are smaller I can extend guidelines from one drawing to another. It’s a pity I didn’t spread them differently to start with so I could do same with side elevation. I will try that next time. I learnt how important correct measurements are and 90 degree angle has to be 90 degrees or the whole thing will be skew. I think using paper with a grid would make following the correct angles easier, using plain paper makes it harder. Here’s the result of my efforts.

Despite noting my measurements during Exercise 1.1 I still needed to note some more down (and amend some) while completing this task. I found this task really enjoyable despite really challenging part of measuring and drawing clasp on the case (side view was really difficult). I couldn’t get my head around measuring some of the angles in the side view so just tried and copied using my eyes and hand, I am quite pleased with the result. Also I need a longer ruler, using 30cm one was more time consuming that should have been while drawing lines longer than 30cm.

Exercise 3.1 General Site Analysis (Peckham Library)

The buildings main function is library. It also has one stop shop on ground floor providing local residents with council services. It is located on Peckham Square in South East London. It has excellent pedestrian and cycle access. The square can be accessed from all directions. The library is conveniently located very near transport links, there are plenty of bus stops in immediate vicinity (The closest one outside Mountview building).

The library is adjacent on the northside to the Mountview building, the building stands very close to the library, no more than 20 meters. Mountview has been built in recent years and thankfully it doesn’t cast a shadow on the library, it’s the library that casts a shadow on the Mountview building. I can imagine prior to Mountview’s construction there was quite a view through library’s colourful windows at the back of the building. Mountview is a multi-use building, containing drama school, theater, restaurants, leisure and cultural activities.

In front of Peckham Library there is Peckham Arch.

Reflection on the task:

I found this task interesting, especially investigating and drawing the library’s position in relation to the four cardinal directions. I normally never think where south or north is and I understand this is crucial information when designing the space, whether it is a whole building or just one of the interiors. I think the building is positioned in a great relation to the sun path, soaking the light in, reducing the need for artificial lighting. I am disappointed that the Mountview building stands where it does as it ruins the view through the back of library, that view must have been Will Alsop’s idea to encourage public take stairs and enjoy the city’s panorama while being healthier and more eco-friendly.

List of illustrations:

Fig. 1 Shuttleworth, A (2020) Colourful Back of Peckham Library [Photograph] In possession of: the author: Epsom

Fig. 2 Shuttleworth, A (2020) View from Peckham Hill Street [Photograph] In possession of: the author: Epsom

Fig. 3 Shuttleworth, A (2020) View from Rye Lane [Photograph] In possession of: the author: Epsom

Fig. 4 Shuttleworth, A (2020) Peckham Arch From Library Window [Photograph] In possession of: the author: Epsom

Fig. 5 Shuttleworth, A (2020) View from One Stop Shop Entrance [Photograph] In possession of: the author: Epsom

Method

Return to the site that you visited in Part 1 and find as many examples of the materials you learned about in Exercise 2.1. Document them through sketches, photographs, notes, and/or any other means you feel is suitable – you do not need to find them all!

Fig. 2 A bit of white laminate has chipped away, we can see why fixing laminate would be difficult as chips are irregular and exposed surface underneath them is uneven. Grainy texture and laminate edges are visible in the photo above.

Fig. 3 – we can see the grainy texture of the white surface, and the ‘wooden’ bit beneath. I think top laminate is more scratch resistant, hence it was chosen as top layer on this table.

Fig. 4 Laminate cabinet with what seemed to be a natural stone worktop, could but could also be HiMacs. Very smooth, with rounded edges and cold to touch. On top of worktop there’s a sticker (I’m guessing it’s a self-adhesive polymeric film)

Fig. 5 – Fig. 8 Show shiny, resilient surface. The chair and top of display stand – we can see that the material has been bent.

Fig. 9 – Fig. 10 Interior elements made from powder coated metal.

Solid wood steps are attached to powder coated steel understeps and structure, the bannister has stainless steel handrail and mesh wire elements.

In the image above we can see a concrete step, with a glass insert and non-slip rubber strip.

In the image above we can see the powder coated steel support of concrete steps, with unpainted steel bolts. Glass insert is also visible in step above.

Vinyl floor covering looks soft, rubbery and flexible.

I couldn’t find any weathered steel inside but outside of Peckham library is clad in weathered copper.

Reflection on the task:

Some materials are hard to distinguish, for example himacs from laminate (countertop in Fig. 4). I thinks it’s a himacs countertop only because I couldn’t see the laminate strip edges. But am I right? Being a materials detective is a difficult task and I still need to learn loads about them. Especially about different steels and metals.

List of Illustrations:

Fig. 1 Shuttleworth, A. (2020) Laminate Desk [Photograph] In possession of the author: Epsom.

Fig. 2 Shuttleworth, A. (2020) Damaged laminate desktop [Photograph] In possession of the author: Epsom.

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

Fig. 4 Shuttleworth, A. (2020) Laminate cabinet [Photograph] In possession of the author: Epsom.

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

Fig. 6 Shuttleworth, A. (2020) HiMacs Chair on stainless steel legs [Photograph] In possession of the author: Epsom.

Fig. 7 Shuttleworth, A. (2020) HiMacs Display Stand [Photograph] In possession of the author: Epsom.

Fig. 8 Shuttleworth, A. (2020) HiMacs Display Stand Top [Photograph] In possession of the author: Epsom.

Fig. 9 Shuttleworth, A. (2020) Fabricated Metal [Photograph] In possession of the author: Epsom.

Fig. 10 Shuttleworth, A. (2020) Metal Cabinet [Photograph] In possession of the author: Epsom.

Fig. 11 Shuttleworth, A. (2020) Metal radiator cover [Photograph] In possession of the author: Epsom.

Fig. 12 Shuttleworth, A. (2020) Wood and steel staircase [Photograph] In possession of the author: Epsom.

Fig. 13 Shuttleworth, A. (2020) Needlefelt carpet tiles [Photograph] In possession of the author: Epsom.

Fig. 14 Shuttleworth, A. (2020) Concrete, glass, rubber [Photograph] In possession of the author: Epsom.

Fig. 15 Shuttleworth, A. (2020) Concrete, glass and steel [Photograph] In possession of the author: Epsom.

Fig. 16 Shuttleworth, A. (2020) Vinyl floor covering [Photograph] In possession of the author: Epsom.

Fig. 17 Shuttleworth, A. (2020) Green tinted glass [Photograph] In possession of the author: Epsom.

Fig. 18 Shuttleworth, A. (2020) Yellow tinted glass [Photograph] In possession of the author: Epsom.

Fig. 19 Shuttleworth, A. (2020) Weathered copper cladding [Photograph] In possession of the author: Epsom.

Fig. 20 Shuttleworth, A. (2020) Weathered copper close up [Photograph] In possession of the author: Epsom.

Research the following materials:

1. CorTen 
2. Formica, Polyrey or Abet 
3. HiMacs or Corian 
4. Bolon 
5. Kvadrat 
6. Tektura 
7. Havwoods UK
8. Forbo 
9. Lowinfo 
10. Moz Designs 
11. Chelsea Artisans Ltd 

1. Corten Steel

CorTen is a weathered, particular mix of steels and other alloys. The steel is made and left outside for 3-10 months. The rust formed on the outside of material forms a protective layer, so this material is popular for outdoor applications (buildings and garden) as well as indoor. The rusty layer on top requires no further treatment if left outdoors but would need to be sealed for indoor applications.

 Indoor applications include bathroom wall coverings, furniture fronts, kitchen splashbacks, wall coverings, popular in trendy office interiors. Sealed material is recommended for interiors due to leaching and staining.

You can buy Corten steel that is isn’t weathered yet (that would be suitable application for outdoor, cladding etc) or weathered for interior projects. It is supplied in flat sheets or panels, that can be plain or with laser cut outs. They vary in thicknesses and sizes. The thickness of unsealed Corten offered by www.buymetalonline.co.uk varies from 1.5mm (0.059’’) and every half mm to 6mm (0.23’’). The panel/ sheet sizes vary from 400mm x 200mm / approx. 16’’ x 8’’ (£71.85 per sq. m exc VAT for 1.5mm thickness, £154.81/ sq. m excluding VAT for 6mm thickness ) to 2500mm x 1250mm / approx. 100’’ x 50’’ (£58.48/ sq. m excluding VAT for 1.5mm thickness, £304.92 / sq. m excluding VAT for 6mm thickness).

Sealed options are available from specialist suppliers who don’t advertise their prices online.

Fixing method is attaching to a flat surface with screws.

Environmental impact:

• Iron extraction threatens biodiversity, can cause erosion and sinkholes, harmful substances are released to the environment
• During production process sulphur oxides, nitrogen oxides, and carbon monoxide pollute the atmosphere. Metal and steel industries are the biggest CO2 pollutants and highest energy users (due to high costs of upgrading to be more sustainable)
• It is believed that water run can harm aquatic life

Structural properties: it is classed as self-protecting steel; it is weather resistant.

2. Formica – trademark name – equivalent from other makers is laminate

• Production process – – special papers (and sometime thin sheet of metal for some commercial applications) are soaked in synthetic resin, then heated and pressed. The result is thin, hard and durable surface material (around 1.5mm, 1/16’’ thick) that is coloured, painted and finally cemented to plywood or other backing. There are many designs: wood imitations, stone imitations, just plain and others. Can be shiny or matt.
• Interior design applications – flooring, kitchen worktops, bathroom worktop and cladding, doors, commercial kitchens, furniture. Used in education, boat interiors, hospital interiors, hospitality. Wide range of designs and uses.
• Fixing methods – Kitchen worktops: put on top of cabinets and screw it down from below and to the wall if cabinets are not secured. Attached to the walls using adhesives.
• Supplied sizes (metric and imperial). Sizes will vary depending on the project and product used. E.g. Doors will have different sizes from kitchen worktops and wall claddings, and these will be much larger that laminate floor individual planks.
• Cost per square metre – the price varies depending on spec and finish.
  Laminate wall coverings. I looked at a few and prices per square metre were £12.78, £27.42, £58.67.
  Laminate flooring £7 – £33 / sq. m. (That’s just what I saw in my initial research, I’m sure there’re more expensive ones)
  Laminate worktops from as little £33 / sq. m.
• Environmental impact:
  Wood fibers and paper are sustainable, resin isn’t.
  High energy consumption during production process.
  It cannot be easily fixed if damaged so that affects durability.
  Disposed at landfill, takes long time to decompose.
• Cleaning and maintenance – easy to clean, acid, heat and alkaline (found in home) resistant
• Finishing/ treating/ specific handling: matching edge strips should be glued on to cut, exposed edges

3. HiMacs worktops, furniture etc

• Production process – minerals and pigments are blended with acrylic and create hard, durable and resistant surface that’s thermoformable, smooth, non-porous and antibacterial. Depending on colour and thickness it can be translucent or opaque. It can be formed into any shape and create for example chairs, bars, wall cladding etc. The finished product can look like marble, concrete, granite, quartz, solid colour. It can be textured to give surfaces 3D appearance. It’s a robust material that can be worked the same way as wood.
• Interior design applications – kitchen worktops and many commercial applications, bars, restaurants, hospitals, airports. Furniture, staircases, sinks, wall claddings,
• Fixing methods – I’m assuming same as other worktops, claddings, sinks etc
• Supplied sizes (metric and imperial) will vary depending on project needs, made to order so I’m assuming sizing is flexible.
• Cost per square metre – on application only
• Environmental impact – durable material, it can be repaired which prolongs its life. Resin is not eco-friendly. According to the producer the manufacturing process is eco-friendly (using aluminium production byproduct – aluminium trihydroxide as main component, that would otherwise be discarded), and the product is recyclable at the end of life cycle.
• Cleaning and maintenance – easy to clean and requires no maintenance, scratches can be sanded down
• Finishing/ treating/ specific handling. In the kitchens protect the surface from hot dishes straight from the stove, oven, etc. It is fairly scratch resistant but shouldn’t be used as a chopping board.

4. Bolon – woven vinyl flooring and rugs

• Production process – woven vinyl backed on fibreglass reinforced vinyl
• Interior design applications – floor coverings
• Fixing methods – apply to flat floor surface with adhesive designed for vinyl flooring, while ensuring full contact with adhesive
• Supplied sizes (metric and imperial)
  Flooring comes in different forms either rolls (2040mm / approx. 80.25’’ wide), tiles (50x 50cm / 19.75’’ x 19.75’’) or planks (667mm / approx. 26.25’’ wide). Thickness varies from 2.5mm to 3mm
• Cost per square metre – available on application
• Environmental impact – the product has 15 years warranty which shows relatively long life for carpet-like floor. Recycled material in all collections, factory with own recycling facilities and powered by renewable energy, small environmental impact and low emissions – health friendly –  99% chemical free maintenance.
• Cleaning and maintenance: should be frequently hoovered, Cleaning can be done manually with water, mild cleaning agent and scrubbing brush or by using roller brush or orbot machine.
• Finishing/ treating/ specific handling – furniture legs should have furniture pads to protect the floor, some types of rubber may transfer onto it and are impossible to remove.
• Structural properties – structure is naturally irregular. Continuous exposure to over 30 C will cause discoloration and other changes (not suitable with underfloor heating), water resistant

5. Kvadrat Danish design company specialising in upholstery, window coverings, rugs etc. Business branches are more specialised, Kvadrat Soft Cells – engineered acoustic panels, Kinnasand – progressive curtains. They also supply curtain hanging mechanisms and pegs and accessories such us cushions and clouds (see Fig. 2).

• Production process, fabrics made from recycled PET bottles, recycled polyester, repurposed wool, pure wool, pure cotton, or high-tech, modern, durable materials
• Interior design applications – curtains, upholstery, rugs, window coverings, acoustic panels
• Supplied sizes (metric and imperial)
  Curtain fabrics 3000mm / approx. 118’’ high
  Upholsteries 1400mm / approx. 55’’ wide
• Roller blind fabrics are supplied in rolls that are 30m long (30000mm / approx. 1181’’) and 3000mm / approx. 118’’ wide.

• Cost per square metre – undisclosed
• Environmental impact – sustainability at heart of the company, use recycled, re-purposed or eco friendly materials
• Cleaning and maintenance – depending on the fabric
• Structural properties: fire retardant and durable

6. Tektura – specialist in contract wall coverings and window films

Production process –
Digital commercial quality vinyl wallpaper laminated onto woven or non-woven backing

Window films – self adhesive polymeric film

• Interior design applications – walls and windows
• Fixing methods – like other paste the wall wallpapers with Tekfix plus adhesive, films are self adhesive
• Supplied sizes (metric and imperial) –
  wallpapers are printed to order, to fit any size, delivered in rolls

Window films are supplied in panels max width 1520mm (approx. 60’’)

• Cost per square metre – undisclosed
• Environmental impact – durable so sustainable, but at the same time non-biodegradable
• Cleaning and maintenance: wipeable and washable with some resistance to knocks.

7. Havwoods UK – flooring (engineered wood, solid wood, reclaimed wood, composite decking, magnetic raised flooring), cladding boards (composite, cork)

• Production process – depending on type of product above
• Interior design applications – floors and walls, household and business applications, engineered wood flooring unlike solid wood can be applied on underfloor heating.
• Fixing methods – mainly tongue and groove, magnetic flooring is fitted on top of raised metal platform, beneficial for businesses, easy to install and to remove to get access.
• Supplied sizes (metric and imperial) – flooring usually in planks. Thickness varies from 9mm (approx. 0.35’’) to 23mm (approx. 1’’). Width varies from 65mm (approx. 2.5’’) to 480mm (approx. 19’’). Lengths vary from 213mm (approx. 18.5’’) to 3000mm (approx. 118’’)
• Cost per square metre – undisclosed
• Environmental impact – depending on the product, I believe composite cladding will be less kind to environment than solid wood flooring, that said trees need to be cut to make it. The most environmentally friendly option seems to be reclaimed flooring. The Havwoods website mentions that cutting out old trees makes space for new trees and supports biodiversity on ground level that otherwise would be in constant shade. Also leaving dead trees to decompose contributes to CO2 emissions so cutting mature trees and planting new ones reduces CO2 emissions. Wood is also a warm material.
• Cleaning and maintenance, easy to clean, just sweep and mop. Wood flooring can be sanded down, engineered wood flooring can be sanded down too but not as many times and how many will depend on thickness of top wood layer.
• Finishing/ treating/ specific handling. Wood as a product can be varnished, oil treated, UV treated, brushed, fumed, stained and oiled. It is a fairly soft material and finish can help it look good for longer. When necessary wood can be sanded down to reveal fresh layer. Engineered wood, applied on underfloor heating should not be covered with thick rugs (energy efficiency and high temperature locked in by the rug may damage the boards)
• Structural properties, depending on the product. Solid wood is what it says it is. Wood is hydroscopic (absorbs moisture) so it shrinks and expands depending on conditions around it. Engineered wood is a thin layer of hardwood glued to several layers of softwood or plywood. This creates much more stable floor surface that looks identical to solid wood, once laid.

8. Forbo – Dutch company selling flooring systems (linoleum – rolls and tiles, vinyl tiles, homogenous (single layer) and heterogeneous (multi-layer) vinyl, flotex float flooring (waterproof, washable carpet tiles, planks and sheets), regular carpet tiles, needlefelt carpet, acoustic flooring, safety flooring etc. They seem to be aiming their products at commercial customers.

• Production process – depending on the product, there is wide range. Linoleum is made from raw natural materials, carpet tiles are made from 50% recycled content,
• Interior design applications – floors – forbo is aiming at schools, office buildings, airports, hospitals etc
• Fixing methods – applied to the floor, usually with an adhesive
• Supplied sizes (metric and imperial) – depending on the product, carpet tiles 500 x 500mm (approx. 19.75 x 19.75’’), flooring is also supplied in planks (with a ‘click’ system) available in 3 sizes and rolls.
• Cost per square metre – undisclosed
• Environmental impact – according to their website they are sustainable, and the product is long lasting
• Cleaning and maintenance – washable and durable (public space applications)
• Structural properties depending on the product, but generally soft, warm and hard wearing.

9. Kast – concrete basins, another branch of this business specialises in concrete tiles, worktops, wall cladding, furniture etc.

• Production process – concrete is cast in desired sink shape, can be natural colour or with added tints, then polished and/ or patterned, and in the end sealed for protection.
• Interior design applications – bathrooms, in residential and commercial premises
• Fixing methods – to the wall or on top of under sink cabinet
• Supplied sizes (metric and imperial) – standard handwash basin sizes, can be custom made to fit virtually any space or requirement
• Cost per square metre – n/a, prices for individual items are not advertised.
• Environmental impact – concrete is not environmentally friendly; its production has a massive carbon footprint.
• Cleaning and maintenance – easy, as with porcelain sinks.
• Finishing/ treating/ specific handling – small hairline cracks can appear due to nature of the product; these are hardly noticeable.
• Structural properties – strong and durable material, can be cast to virtually any shape.

10. Moz Designs – architectural, custom fabricated metal (based in USA)

• Production process. They make metal sheets, columns, walls, dividers, and custom products such as ceilings, fixtures, exterior and art. They can be smooth, perforated, corrugated, laser cut, with powder coat or patina.
• Interior design applications – as above. Their elements add interest and texture to the interiors.
• Fixing methods – depending on the product and application
• Supplied sizes (metric and imperial) – laser cut metal sheets standard size 4’ x 8’ (1219.2 x 2438.4mm)
• Cost per square metre – unavailable
• Environmental impact – metal production often emits high levels of CO2, however Moz factory is 100% solar powered and materials are domestically sourced where possible.
• Cleaning and maintenance – depending on the actual metal and finish.
• Finishing/ treating/ specific handling – come with attachments for easy fastening solutions.
• Structural properties – metal is smooth, resilient, cold to touch and is a good heat conductor.

11. Chelsea Artisans Ltd – fusion glass designs. They supply 4 product ranges: Impact resistant diamond system panels created using annealed glass (coloured, digitally printed, satin finish, silver or tinted mirror, satin finish mirror); fusion glass kiln formed (textured, patterned, monolithic or crystalline), fusion glass surface decorations (from surface etching to deep, 3 dimensional work or patterns and graphic printed onto glass through toughening, tempering process); laminated glass (either traditional PVB or EVA or other materials can be laminated withing the glass (interlayers can be in various colours and patterns and these include opaque and transparent colour, metal mesh, fabrics, digitally printed images)

• Interior design applications -walls, doors, windows. Office buildings, homes, public spaces.
• Fixing methods – depending on the supplied form (flat sheets or curved to radius) and where it’s going. Glass is a heavy material and will require secure fixing
• Supplied sizes (metric and imperial) – unavailable but made to measure so I imagine any size required.
• Cost per square metre – unavailable
• Environmental impact – glass is fairly sustainable material made of sand
• Cleaning and maintenance – easy to wipe clean, non staining.
• Structural properties – cold to touch, easy to break or crack, can have sharp edges.

Reflection on the task:

I find this task really hard, mainly because it was very time consuming. I was instructed to research so many aspects of each materials and find out prices and available dimensions both in inches and millimetres. I find the imperial system not so accurate, I prefer to work in metric. I spent much more than recommended 2-3 hours since so many materials and detailed aspects were asked.

List of illustrations

Fig. 1 Gobuty, R (2018) Interiors Awards 2018: Lobby Repositioning [Photograph], At:  https://www.contractdesign.com/wp-content/uploads/aventine-A-1.jpg (Accessed 09.02.2020)

Fig. 2 Kvadrat (year unknown) Clouds | Products | Kvadrat [Photograph] At: https://kvadrat.dk/media/image-section/image-id/small/2018-kvadrat-clouds-210618-10-009-2.jpg (Accessed 09.02.2020)

References

https://www.buymetalonline.co.uk/corten-steel/ (accessed 09.02.2020)

https://www.logic-sf.co.uk/blog/2016/09/what-is-corten-steel-and-how-is-it-made/ (accessed 09.02.2020)

https://www.buymetalonline.co.uk/product/weathered-corten/ (accessed 09.02.2020)

https://greenfuture.io/sustainable-living/corten-steel/ (accessed 09.02.2020)

https://masteel.co.uk/products/weathering-steel/ (accessed 09.02.2020)

https://www.britannica.com/technology/Formica (accessed 09.02.2020)

https://www.formica.com/en-gb/collections/home-products (accessed 09.02.2020)

https://www.google.com/shopping/product/13231166218202857088?q=laminate+wall+covering&biw=1904&bih=932&prds=epd:12056880750969408926,paur:ClkAsKraX6i3oWO6Hp9RuRHaYMBQ7iRjWindCqjD6dwv310txcyY6kHR25HwDY35XNHyihgehsd25ACu9vu2OJK4_9SgXhL7b82q104dNACq3m-sQSiqHUOArxIZAFPVH70qxzphLn_ab1B_XWCnvr8XiKk27w,prmr:1&sa=X&ved=0ahUKEwj-s8Cm4sTnAhV7QhUIHbS4BHcQ8wIIjAI (accessed 09.02.2020)

https://www.rubberduckbathrooms.co.uk/grey-concrete-matt-1200-x-2400-x-10mm-spl17-splashpanel-shower-wall-board?source=googlebase&gclid=EAIaIQobChMIgOTDpuLE5wIVh7PtCh1E-wjhEAkYCCABEgJVrvD_BwE (accessed 09.02.2020)

https://www.rubberduckbathrooms.co.uk/rustic-ash-2400-x-1200mm-perform-panel-bathroom-splashbacks?source=googlebase&gclid=EAIaIQobChMIgOTDpuLE5wIVh7PtCh1E-wjhEAkYAyABEgLkhPD_BwE (accessed 09.02.2020)

https://greenhomeguide.com/askapro/question/are-laminate-countertops-such-as-formica-wilsonart-etc-more-eco-friendly-since-they-don-t-have-to-be-mined-and-shipped-around-the-world (accessed 09.02.2020)

https://www.formica.com/en-gb/campaigns/sustainability (accessed 09.02.2020)

http://hi-macs-surfaces.co.uk/ (accessed 09.02.2020)

https://www.bolon.com/en (accessed 09.02.2020)

https://kvadrat.dk/ (accessed 09.02.2020)

https://www.tektura.com/ (accessed 09.02.2020)

https://www.havwoods.co.uk/ (accessed 17.02.2020)

https://www.forbo.com/corporate/en-gl/ (accessed 17.02.2020)

https://mozdesigns.com/ (accessed 17.02.2020)

https://www.chelsea-fusion.com/ (accessed 17.02.2020)

https://kastconcretebasins.com/ (accessed 18.02.2020)

https://www.bbc.co.uk/news/science-environment-46455844 (accessed 18.02.2020)

Can you find 5 examples of designers, architects or artists whose work aligns with the “Truth to Materials” phrase?

Find photographs and reflect on them in your learning log. Questions you may want to ask are:

What materials are used? Are the construction/fixing methods visible? How are they using materials to display this ethos?

Example 1:

Architects: Estúdio Penha (based in Sao Paolo, Brasil http://www.estudiopenha.com/)

Materials used are wooden floors, exposed brick walls, exposed concrete ceiling and walls, cables are run in pipes that are showcased, exposed pipe going down from air conditioning unit, exposed steel industrial trunking (that runs to air conditioning unit), exposed steel construction beams (look rusty), steel window frames, internal glass partitions. Wooden floors.

All installations are on show, the trunkings, the pipes, the walls and ceiling are bare showing the exact materials they’re made off.

Materials used are construction steel for steps and landings; steel profiles; balustrades are made of steel profiles and what seems to be wire mesh panels; the walls are left bare, showing off the concrete material; the trunkings are made of metal pipes, all connectors are on show. Red pipes seem to be that colour because of some sort of foam insulation on them – it looks soft. Steel elements look rusty, left untreated. There’s a bit of wood on the edge of top landing. Windows are framed in metal.

Bare walls – brick and concrete, terracotta on the floor – looks hard and smooth, concrete work top and kitchen island. Exposed pipes under the counter. Metal window frames, large windows.

Concrete walls and ceilings. We can clearly see the concrete blocks/ tiles that the ceiling is composed of. Electrical installation is run on top of the walls in pipe-like trunkings. Metal window frames, large windows.

Example 2:

Architects: SP62 Arquitetura (based in Sao Paolo, Brasil https://www.sp62arquitetura.com/)

Steel profiles and concrete they are attached to are exposed and painted fluorescent green, their surface is looking rough. The walls are exposed, grey coloured brick. Ceiling is constructed of metal construction sheets and is exposed in places. We can see silver metal and red pipes. Floor is concrete. In the right corner there is a thick wooden post, I suppose it’s a construction element. Support elements (towards the middle of the wall) and parts of the ceiling are painted black.

 Example 3: Constantin Brancusi (1876-1957) – Romanian sculptor, painter and photographer.

Head sculpture is carved out of oak, we can clearly see the wood grain, knags and cracks, it looks warm, smooth, polished and at the same time the surface is ribbed, the material imperfections are on show.

Maiastra is a sculpture of bronze on limestone base. The bronze surface looks cold and shiny. We can see some imperfections on the surfaces, I’m guessing those appeared during casting process. The straight edges don’t look sharp, but still appear hard. The shape is very slightly irregular, we can recognise it by the way the light bounces of it. The bronze part looks strong and heavy. The limestone base looks rough, we can see where pieces of stone chipped away during sculpting process. The sculpture is irregular, looks sharp, hard, rough, cold and brittle. The base also looks heavy, but not as dense as bronze part.

Example 4: Dame Barbara Hepworth (1903 – 1975) – British sculptor

Sculpture with profiles is carved out of alabaster with alabaster base. It looks soft and heavy, it has a waxy shine. We can see the mineral structure all over but best where the light seems to be seeping through the base on the left-hand side. There are natural imperfections visible all over, but the shape looks smooth and polished apart from few blemishes and few carved out shapes. The edges are gently rounded, and base edges are straight but look very slightly jagged.

The above artwork is made of Hoptonwood stone on Portland stone base. The sculpture surface looks very rough and grainy. The surface imperfections are clearly visible, the colour is uneven. The edge of inner circle is rounded and smoother than slightly jagged, more defined outer edge. Somehow the top part looks denser and heavier than bottom part. The base has straight(ish), very slightly jagged edges and yellowish ‘veins’ are clearly visible. The top surface of the base looks uneven, as if the artist worked with agreement with the material, respecting its natural properties.

Example 5: John Skeaping (1901-1980) – English sculptor

Buffalo is sculpted of lapis-lazuli stone on marble base. The surface of top part is cracked in many places, but it looks as if it was slightly polished around. The colour varies naturally from very light cream, through greys and brows to dark blue. The nose colours make it look dirty and surface there looks rough. The edges are rounded and polished, but the artwork is not shiny. It looks fragile. The base looks shiny and cold, has slight imperfections on the top surface, the edges look smooth, rounded, and I believe they are straight despite the play of light making them to appear slightly curved.

The above sculpture is made of Ironstone on serpentine base. The upper part has a rusty colour, looks soft, almost wooden. The chip on the lower lip shows softness and brittleness of the material. There are a couple of cracks on the head. The colour varies, shows natural structure of the stone. It seems that the general shape of the fish and the rounded edges show properties of the stone and how artist worked with them to create this form. It looks dense and heavy with small indented spots. The base looks very smooth, polished, straight and shiny (despite no shine visible). It looks easy to cut straight; the edges are perfect lines with rounded corners, the top is flat. It looks cold and hard. We can clearly see the mineral structure of this serpentine stone.

Reflection on the task:

It was quite difficult to find architectural practice that has truth to materials written in their ethos. Perhaps because the final designs usually depend on what the clients want, and some people just like plaster and paint on the walls, or simply cost restrictions force them to choose cheaper and less ‘true’ materials.

List of illustrations

Fig. 1 Reinés, T. (2016) Gallery of Akqa Agency / Estúdio Penha – 3 [Photograph] At: https://images.adsttc.com/media/images/5990/f85e/b22e/38d0/4800/0500/slideshow/AKQA_EST%C3%9ADIOPENHA_04.jpg?1502672974 (Accessed 02.02.2020)

Fig. 2 Reinés, T. (2016) Gallery of Akqa Agency / Estúdio Penha – 1 [Photograph] At: https://images.adsttc.com/media/images/5990/fad3/b22e/382f/f400/0181/slideshow/AKQA_EST%C3%9ADIOPENHA_21.jpg?1502673604 (Accessed 02.02.2020)

Fig. 3 Magnani, M (2014) Gallery of Quinta da Baroneza House / Estúdio Penha – 3 [Photograph] At: https://images.adsttc.com/media/images/5c7f/c21b/284d/d1ce/f000/03fa/slideshow/QUINTA_DA_BARONEZA_-19.jpg?1551876616 (Accessed 02.02.2020)

Fig. 4 Acayaba, M (2017) Gallery of Rizoma / Estúdio Penha – 1 [Photograph] At: https://images.adsttc.com/media/images/5c76/f64c/284d/d11e/2500/03fd/slideshow/RIZOMA_-_ESTUDIO_PENHA_08.jpg?1551300139 (Accessed 02.02.2020)

Fig. 5 Affaro, V. (2017) Maker World / Shopping Morumbi Town [Photograph] At: https://static.wixstatic.com/media/3c7ed8_9a3f65402b064bd08f63242a430fd284~mv2_d_5464_3642_s_4_2.jpg/v1/fill/w_1121,h_747,al_c,q_90,usm_0.66_1.00_0.01/3c7ed8_9a3f65402b064bd08f63242a430fd284~mv2_d_5464_3642_s_4_2.webp (Accessed 02.02.2020)

Fig. 6 Inside Art Studio (2019) Gallery of Verum Iguatemi Office / SP62 Arquitetura – 1 [Photograph] At: https://images.adsttc.com/media/images/5d01/d858/284d/d16c/8700/01f8/slideshow/Thiago_Arquiteto-7.jpg?1560401982 (accessed 02.02.2020)

Fig. 7 Brancusi, C (c. 1919- 1923) Tête [Sculpture] At: https://www.tate.org.uk/art/artworks/brancusi-head-t03066 (accessed 08.02.2020)

Fig. 8 Brancusi, C (1911) Maiastra [sculpture] At: https://www.tate.org.uk/art/artworks/brancusi-maiastra-t01751 (Accessed 08.02.2020)

Fig. 9 Hepworth, B. (1932) Sculpture with profiles [Sculpture] At: https://www.tate.org.uk/art/artworks/hepworth-sculpture-with-profiles-t06520 (Accessed 08.02.2020)

Fig. 10 Hepworth, B. (1937-8) Pierced Hemisphere II [Sculpture] At: https://www.tate.org.uk/art/artworks/hepworth-pierced-hemisphere-ii-t11785 (Accessed 08.02.2020)

Fig. 11 Skeaping, J. (1930) Buffalo [Sculpture] At: https://www.tate.org.uk/art/artworks/skeaping-buffalo-t03767 (Accessed 08.02.2020)

Fig. 12 Skeaping, J. (1929-30) Fish [Sculpture] At: https://www.tate.org.uk/art/artworks/skeaping-fish-t06548 (Accessed 08.02.2020)

References:

https://www.designingbuildings.co.uk/wiki/Truth_to_materials (accessed 01.02.2020)

https://www.select-interiors.com/blog/truth-to-materials-the-craft-of-design-fit-out/ (accessed 01.02.2020)

https://www.dezeen.com/2015/08/19/jun-sekino-tinman-house-bangkok-thailand-steel-structure-colourful-staircases-exposed-framework/ (accessed 01.02.2020)

https://www.dezeen.com/2011/08/19/cod-by-rami-tareef/ (accessed 01.02.2020)

https://www.dezeen.com/2013/11/28/bar-in-an-attic-space-in-minsk-by-inblum-architects/ (accessed 01.02.2020)

https://www.dezeen.com/2020/01/23/kenwood-lee-house-cousins-cousins-london-architecture/?li_source=LI&li_medium=bottom_block_1 (accessed 01.02.2020)

https://www.archdaily.com/931730/flat-house-practice-architecture-plus-material-cultures/5e1bc69e3312fd589c000138-flat-house-practice-architecture-plus-material-cultures-photo?next_project=no (accessed 02.02.2020)

https://www.archdaily.com/office/estudio-penha?ad_name=project-specs&ad_medium=single (accessed 02.02.2020)

https://www.instagram.com/estudiopenha/ (accessed 02.02.2020)

https://www.sp62arquitetura.com/projetos (accessed 02.02.2020)

http://www.artnet.com/artists/constantin-brancusi/ (accessed 08.02.2020)

https://www.tate.org.uk/art/artists/constantin-brancusi-800 (accessed 08.02.2020)

https://www.tate.org.uk/art/artworks/brancusi-maiastra-t01751 (accessed 08.02.2020)

https://www.tate.org.uk/art/artists/dame-barbara-hepworth-1274 (accessed 08.02.2020)

https://en.wikipedia.org/wiki/Alabaster (accessed 08.02.2020)

https://www.tate.org.uk/art/artworks/hepworth-pierced-hemisphere-ii-t11785 (accessed 08.02.2020)

https://www.tate.org.uk/art/artists/john-skeaping-1949 (accessed 08.02.2020)

Look a bit closer at your chosen precedent design.
Using secondary research alongside a carefully selected set of images that highlight the interior of your chosen precedent, annotate the images with information regarding the materials as best you can.
Consider things such as:
• What materials have been used?
• Are they local?
• What is the relationship between the existing building materials and those of the new design intervention? Are they sympathetic/juxtaposed…?
• What do you notice about the materials?
• Focus on the materials and the way they interact with each other.
• What do the physical junctions between the existing building and the new structure/ elements look like?
• Do they relate to other precedent research points that you have discovered so far?
• What are the main design tactics used by the architect/designer?
• What are the reasons for all these things?

List of illustrations:

Fig. 1 The Interior Of The Reichstag In Berlin (year unknown) [Photograph] At: https://www.askideas.com/20-incredible-interior-pictures-and-photos-of-the-reichstag-building-in-berlin-german/ (Accessed 19/01/2020)

Fig. 2 Beautiful Inside View Of The Reichstag Dome Picture (year unknown) [Photograph] At: https://www.askideas.com/20-incredible-interior-pictures-and-photos-of-the-reichstag-building-in-berlin-german/ (Accessed 19/01/2020)

Fig. 3 Beier,C. (year unknown) Upper Open End Of The Dome Of Reichstag Building Inside Picture [Photograph] At: https://www.askideas.com/20-incredible-interior-pictures-and-photos-of-the-reichstag-building-in-berlin-german/ (Accessed 19/01/2020)

Fig. 4 Danperry (2011) Reichstag interior [Photograph] At: https://danperry.livejournal.com/tag/berlin (Accessed 19/01/2020)

Fig. 5 X-Luminare-X (2013) The Reichstag Dome [Photograph] At: https://www.deviantart.com/x-luminare-x/art/The-Reichstag-Dome-401648504 (Accessed 19/01/2020)

Fig. 6 Meisel, R. Stuth, A. (year unknown) Corridor in Reichstag with preserved Soviet Graffiti [Photograph] Athttps://www.erco.com/projects/community/reichstag-building-1336/images/eur-erco-reichstag-building-solut-2-20.jpg#2017-02-07_13-08-15 (Accessed 19/01/2020)

Fig. 7 Meisel, R. Stuth, A. (year unknown) Corridor in Reichstag with arched ceiling [Photograph] At https://www.erco.com/projects/community/reichstag-building-1336/en/ (accessed 19/01/2020]

References:

https://www.britannica.com/topic/Reichstag-building-Berlin-Germany (accessed 02.01.2020)

https://www.britannica.com/place/Berlin/The-city-layout#ref383768 (accessed on 02.01.2020)

https://www.britannica.com/event/Reichstag-fire#ref1259316 (accessed on 02.01.2020)

https://www.archdaily.com/photographer/bundesarchiv-bild-102-13744-licensed-under-cc-by-sa-via-commons?ad_name=project-specs&ad_medium=single (accessed on 11.01.2020)

https://www.berlin.de/mauer/en/wall-trail/city-route/from-nordbahnhof-to-potsdamer-platz/ (accessed on 12.01.2020)

https://www.visitberlin.de/en/reichstag-in-berlin (accessed on 12.01.2020)

https://christojeanneclaude.net/projects/wrapped-reichstag (accessed on 12.01.2020)

Annotations:

Fig. 1
The original Reichstag building. Image © Bundesarchiv, Bild 102-13744, licensed under CC BY-SA 3.0 via Commons. Sourced from https://www.archdaily.com/775601/ad-classics-new-german-parliament-reichstag-foster-plus-partners/562475e8e58ecec3c4000353-ad-classics-new-german-parliament-reichstag-foster-plus-partners-photo (accessed on 11.01.2020)

Fig. 2 War destroyed Reichstag in 1946. Sourced from https://www.bundestag.de/besuche/architektur/reichstag/geschichte (accessed on 11.01.2020)

Fig. 3 View of the empty plenary hall with dome light by Bernd Kuhler on 3 Mar 1999. Sourced from https://www.bild.bundesarchiv.de/dba/en/search/?topicid=dcx-thes_schlagwort_774uhhpl68pabxzzn3k&filter=%5B%7B%22id%22%3A%22dcxapi%3Atm_topic%2Ftmt77552b1dos9vg8p3dbw%22%2C%22filtergroup%22%3A%22dcxapi%3Atagdef%2FDC5FilterGeoDe%22%2C%22label%22%3A%22Berlin%22%2C%22results%22%3A%22548%22%7D%5D&page=2 (accessed on 11.01.2020)

Fig. 4 The floor plan of the Reichstag Berlin. Sourced from https://archimaps.tumblr.com/post/188204449267/the-floor-plan-of-the-reichstag-berlin (accessed on 11.01.2020)

Fig.5 Russian inscriptions on a wall. Photo by Bernd Kuhler on 3 Mar 2009. Sourced from https://www.bild.bundesarchiv.de/dba/en/search/?topicid=dcx-thes_schlagwort_774uhhpl68pabxzzn3k&filter=%5B%7B%22id%22%3A%22dcxapi%3Atm_topic%2Ftmt77552b1dos9vg8p3dbw%22%2C%22filtergroup%22%3A%22dcxapi%3Atagdef%2FDC5FilterGeoDe%22%2C%22label%22%3A%22Berlin%22%2C%22results%22%3A%22548%22%7D%5D&page=8 (accessed on 11.01.2020)

Fig. 6 Public looking into plenary room. Image sourced from https://www.fosterandpartners.com/projects/reichstag-new-german-parliament/#gallery (accessed on 11.01.2020)
Fig.7 Reichstag building now. Image sourced from https://www.fosterandpartners.com/projects/reichstag-new-german-parliament/#gallery (accessed on 11.01.2020)

Fig. 8 Inside cupola. Image sourced from https://www.fosterandpartners.com/projects/reichstag-new-german-parliament/#gallery (accessed on 10.01.2020)

Fig. 9 Reichstag in 1980s. By Peter Horee/ Alamy stock photo. Sourced from https://www.alamy.com/germany-berlin-town-city-old-german-reichstag-1980-image7322562.html (accessed on 12.01.2020)

Fig. 10 Berlin Wall Map. From the Aug. 31, 1962, issue of TIME. Sourced from https://time.com/3557321/berlin-wall-stories/ (accessed on 12.01.2020)

Fig.11 Berlin Wall Between the Reichstag building and Brandenburg Gate, January 1990, Image: Landesarchiv/Edmund Kasperski, Sourced from https://www.berlin.de/mauer/en/wall-trail/city-route/from-nordbahnhof-to-potsdamer-platz/ (accessed on 12.01.2020)

Fig. 12 Soviet Graffiti, Image sourced from  https://www.bundestag.de/resource/blob/394562/e9b7fac699d80e1d5e2ec78813d15e62/flyer_graffiti-data.pdf (accessed on 12.01.2020)

Fig 13. Christo and Jeanne-Claude Wrapped Reichstag, Berlin, 1971-95 ,Photo: Wolfgang Volz ,© 1995 Christo sourced from https://christojeanneclaude.net/projects/wrapped-reichstag (accessed on 12.01.2020)

Fig. 14 Google Maps Satelite View of Reichstag. Sourced from https://www.google.com/maps/place/Reichstag+Building/@52.5199051,13.3726847,1215m/data=!3m1!1e3!4m5!3m4!1s0x47a851c741ee506d:0x641b52d3abf17de5!8m2!3d52.5186202!4d13.3761871 (accessed on 12.01.2020)

Project location:

Reichstag Building, Platz der Republik 1, 10557 Berlin, Germany

Reichstag building was originally completed in 1894. It houses German Parliament and it is located in Berlin. The building was damaged during World War 2 and suffered through bad rebuilding during its history.

Fosters and Partners won the competition and renovation began in 1995.

References:

https://www.archdaily.com/775601/ad-classics-new-german-parliament-reichstag-foster-plus-partners (accessed 15.12.19)

https://www.fosterandpartners.com/projects/reichstag-new-german-parliament/ (accessed 15.12.2019)

https://www.google.com/maps/place/Reichstag+Building,+Platz+der+Republik+1,+10557+Berlin,+Germany/@52.5184351,13.3758362,289m/data=!3m1!1e3!4m5!3m4!1s0x47a851c748c80e45:0xbf985f98f930a812!8m2!3d52.518619!4d13.3763176 (accessed 15.12.19)

Record how people interact with and within interior. What are they doing? How they behave? What routes they take? Where to, where from? How are they acting?

I decided to make a drawing to present my observations, based on simple rectangle that presents the floor space.

People that spend time here are mainly seating down at many spaces designed for that purpose. They’re either working on computers, reading while seating on comfortable looking chairs with lower coffee tables or sitting by study tables near the ‘window wall’. Not many people are walking, I drew more routes than I observed, especially between the bookshelves. I haven’t observed many users there, however I felt it was important to highlight routes forced by the bookshelves for users looking for a particular book. Most people I observed walking were along two longer walls, with majority nearer the reception desk, walking to and from reception to speak to staff.

Unfortunately I was refused permission to take photos due to privacy issues. So I decided to draw instead.

Area that I felt was more welcoming was by the windows, I believe due to plenty of daylight. Less welcoming areas would be the quiet zones, probably because there were signs to be quiet and people were working there. I felt like I was an intruder, disturbing their concentration. Spaces under pods were darker than area near the windows, which made them less pleasant to be in. Bookshelves are dominating the space, they are black with sharp edges, divide the space, can’t see much through them. The pods look very interesting and are the focal points, drawing your eyes to them.

The interior of main library space consists of many zones and elements within them so I decided to try and draw a floor plan first to help me understand the space better.

There are different zones within this space: reception, quiet study zones with computers, reading desks near the window, seating/ reading zone with more comfy chairs and lower tables under middle pod and bookshelves in between. Book shelves make the space feel more closed. The most interesting features are the meeting rooms in pods and black columns that ‘pierce’ through the floor and reach the ceiling at different angles. These are the same columns that support the building outside.

There are three big pods that contain meeting room, study area and a crèche. They are raised on three or four legs each about 3 metres above floor level. The middle one is accessible through a winding staircase at the bottom of it, the side ones are accessible from the level up, through step free access. The pods have irregular shape and are covered in irregular, wooden looking plates, creating ‘patchwork’ effect. I tired to draw them but found it really difficult to get the perspective right.

Estimating the dimensions of the space: I walked around and counted my steps to help me estimate the size of the room. I estimated it to be 45m long and 15m wide. I find estimating the height of the rooms more tricky but first I estimated he size of the pods and then assumed the room is about 7m high.

Mapping the interior:

Reflection:

I found the process of mapping this interior quite difficult. Firstly there are many elements and I felt I should not include them all as my map would be completely illegible. Secondly there are unusual shapes and angles and it was hard to rely these onto my drawing. If I was doing this exercise again I would bring bigger notebook to draw in more detail. I feel that my map identified the most important elements of this space: the pods, raised circular ceiling above middle pod, pink glass between main library and children library, black columns, quiet areas and the bookshelves.

Previously 1920’s apartment building in Chicago transformed into architecture and socially engaged art gallery by Pritzker laureate, Japanese architect Tadao Ando. The space opened to the public in late 2018.

Techniques used to create atmosphere in images above include use of abundant daylight, very high ceiling, choice of very few finishing materials, straight lines and open spaces. The architect managed to create a warm and welcoming atmosphere by introducing bricks and natural wood, the glass balustrades keep the space open. The staircase winding up around a huge concrete post looks sturdy. Everything including brickwork and wood panes is straight and organised to perfection. This place seems to be inviting the visitors to follow the stairs up. It looks quiet and I believe there must be incredible echo with every step taken which would force the users to slow down and contemplate the interior and the art within.

The images above represent the interior of forth floor extension added to the building. There seems to be a serene atmosphere created by straight lines, natural light entering through wall to ceiling windows covering 3 external walls. In sunlight the inside is reflecting in the windows creating translucent image blending with outside and giving impression of a bigger space. Vertical window frames create straight lines of shadow, nearby tree tops seem to be entering the room which increases the calm atmosphere. The ceiling is build of black metal squares and contrasts with simple white lamps installed on white rails. There are concrete walls, floor and columns, but here they add to the calm atmosphere.

Images sourced from https://www.designboom.com/architecture/wrightwood-659-tadao-ando-chicago-09-28-2018/ (accessed on 03.09.2019)

Resources:

https://www.designboom.com/architecture/wrightwood-659-tadao-ando-chicago-09-28-2018/ ( accessed on 03.09.2019)

https://news.wttw.com/2018/10/16/inside-wrightwood-659-new-home-art-and-architecture (accessed on 03.09.2019)

‘An international figure in architecture and urban design, Daniel Libeskind is renowned for his ability to evoke cultural memory in buildings. Informed by a deep commitment to music, philosophy, literature, and poetry, Mr. Libeskind aims to create architecture that is resonant, unique and sustainable.’ (https://libeskind.com/people/daniel-libeskind/ accessed on 03.09.2019)

Elements used to create the atmosphere in this staircase:

• Straight sharp lines at different angles
• Smooth white walls and dispersed natural light coming from a long window placed high above.
• Very tall ceiling and contrasting dark wall across.
• Massive concrete posts hanging above and sharply angled walls above the lower park of the staircase.
• Light, openwork metal staircase
• Sharp and heavy elements in large scale, above a staircase that doesn’t seem so sturdy in comparison

Elements used to create atmosphere in the room above are very tall concrete walls, composed of large scale plates, straight lines and sharp corners. There is light coming from the top of sharp corner and it is contrasting with dark ceiling. Even the door isn’t a usual rectangle, looks heavy and has a massive handle. The whole room seems to be a work of modern art that is intended to create thought. It is a raw design, created by choice of a few materials.

The Void at Jewish Museum – there are 60 staircases that connect exhibitions and they are all opening to the void. Two images below represent the Void from different perspectives.

The most powerful element of design in the image above are rusting iron plates in various sizes, all depicting mainly screaming and some serious faces. I watched youtube videos of this room and the loud metal clanking under visitors steps was magnified by the echo created by smooth tall walls. From my point of view that is sort of sound that could make one feel uneasy. Other elements include tall, smooth, concrete walls and sharp staircase openings.

The image above represent view from the void towards the ceiling in between the staircases. There are sharp angles, concrete walls and ceilings and a lot of straight lines. The material is mostly smooth concrete with the exception of glass window panes in the narrow windows. There is natural light coming from slits near the ceiling. There is a serious atmosphere in this room.

The above interior is near the entrance at the start of visitors journeys through the building. It is less ‘threatening’ than previous rooms by use of plain white walls, a lot of light in form of long strips in the ceiling indicating walking directions. All previous rooms had a lot of concrete elements, here I can’t see any. Comparing to the previous rooms which had powerful atmosphere here I cannot sense much. This seems more like a ‘utility’ corridor, a place to direct visitors onward. It may have been designed this way to give visitors something ‘normal’ to then shock them with designs and provoke the mood of seriousness during their visit.

Resources:

https://libeskind.com/ (accessed on 03.09.2019)

https://www.youtube.com/watch?v=akuMmRySmI4 (accessed on 03.09.2019)

https://www.youtube.com/watch?v=pHlatz0bCUU (accessed on 03.09.2019)