BA(Hons) Interior Architecture & Design Canterbury School of Architecture (est. 1952) University for the Creative Arts New Dover Road, Canterbury Kent, CT1 3AN
2016_17
a formula for tomorrow
(
int x arc + des speculation
) = (re) (re)connaissance (re)storation (re)naissance (re)script (re)articulate (re)programme (re)deploy (re)model (re)use (re)act (re)configure (re)assemble (re)work (re)make (re)invent (re)mix (re)compose
possibly?
interior architecture + design Situated at the junction of architecture, critical spatial practice and fine art, Interior Architecture and Design at Canterbury takes a trans-disciplinary approach to the transformation of underused and unused spaces and places. The BA Interior Architecture & Design course is located within the Canterbury School of Architecture, ranked 9th in the Architecture Subject Table of the 2018 Guardian University Guide. The course is closely related to other courses within the school, namely the BA Architecture course with whom it shares a common Stage One curriculum. The MA Interior Design course also provides graduates of the BA with a new opportunity to progress to PG study within the subject area of Interiors. There is a well-established series of themes that the course addresses. Stage One focuses on the local, with projects in and around East Kent that introduce ways of understanding the relationships between the human body and the built environment. This then progresses on to the mediating role of host structures in human and spatial interrelationships and finally students are encouraged to consider how their work impacts upon peoples lives and begin to understand that as a designer of the built environment they have a social responsibility. Stage Two focuses on the development of students understanding of the processes around the fabrication of 1:1 elements, as well as, working within the existing built fabric, exploring the challenges of the reuse of unused or underused spaces. Stage Three offers students the opportunity to undertake a self-initiated design project, during which they will set their own agendas conducting in-depth contextual research within a shared year research theme. Throughout their studies, they use design as their primary means of inquiry and begin to understand that the process of designing is an intellectually rigorous research activity. This supports the students in becoming socially responsible, confident, innovative and entrepreneurial graduates, that have the knowledge, skills and abilities to play an active role in practice, postgraduate study or academia. Students are given the freedom and confidence to speculate; to play, to imagine, to take detours, as you explore in ways previously unimagined and engage with design briefs as agents of social, cultural, political and economic change. Ultimately, the curriculum at Canterbury provides a research-intensive learning environment, which encourages students to challenge their existing understandings of Interior Architecture and Design. Students are also asked to question and consider the role of the designer in contemporary society. This paper documents just some of the amazing work produced across all three stages and clearly demonstrates that our students continue to produce work that is ambitious from the outset. Rob Nice: Course Leader
(re)connaissance stage one - wearable architecture - amplyfing the infra-ordinary
Wearable Architecture was the first design brief of the year, encouraging students to develop a deep knowledge and understanding of place and peoples reaction and connection to it. From the beginning, students had to work collaboratively beyond the confines/relative safety of the design studio, exploring the social, cultural and political milieu of the everyday, the ‘infraordinary’ (Perec 1973) on Canterbury High Street. Rather than emphasizing the exceptional, the sensational or the spectacular, the concept of the ‘infra-ordinary’ focused the students attention on those everyday things we often take for granted, but that nevertheless inform our perception and therefore our experience of the urban environment; the obvious, the mundane, the habitual, the parts of every day life that go unnoticed. Working in small groups, students started the project by mapping the ‘infra-ordinary’ themes and patterns encountered on their given site. Following this exercise, they then focused on a single theme observing and recording its qualities and exploring ways of amplifying the perception of those qualities. Based on these investigations, students developed, assembled and deployed; either sanctioned or unsanctioned interventions along the High Street, which allowed them to test their designs in a ‘real life’ situation.
Featured work: Albert_Gregson_Burley_Velonis Kuhle_Tomljenovic_Japzon_Munot Millsom_Sutton_Nielsen Serrano_Bateman_Watts_Bagley Carpenter_Marginean_Juergensen_Luusa_Flores_Acuna Biggs_Angheluta_Schwartz_Kemezaite Diaconu_Waters_Stankowska_Manmoovanlal Gharti_Duah_Yu_Osorio Kinzler_Van Orsouw_Adelaja_Holness
Untitled-1 1
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(re)storation stage one - architectural graft - drawing on the past
Architectural Graft focused on the design of a small intervention to be inserted within the Canterbury Cathedral precincts. Inspired by Eugène Emmanuel Viollet-le-Duc’s theory of architectural restoration, students used Canterbury Cathedral as a tool, not only for learning about surveying, but also to enhance their understanding of different approaches to restoration. Viollet-le-Duc believed that Gothic architecture had a didactic value, not as a provider of historic motifs to be replicated, but as a model to be explained, analysed and discussed. He argued that historic buildings should not necessarily be restored as they were, but also be updated. With horticulture as a point of departure, Canterbury Cathedral became the host, onto which the students proposed the design of a graft(parasite) that functioned as a mediator between the visitor and the Cathedral; drawing their attentions to, as Viollet-Le-Duc suggests, the ‘anatomy’, ‘idiosyncrasies’ and ‘temperament’ of a building. The students’ began the project by surveying an allocated site within the precincts and then produced a set of drawings, plans, sections and elevations, which formed the base for a design proposal. Through the use of collage, they then developed a small-scale intervention which grafted onto the skin of the Cathedral, forming a dialogue between the old and the new. Amongst other things, the students were required to decide whether their graft(parasite) would be either temporary, permanent, heterogeneous or homogeneous, thus determining the way their proposal would bond with the host structure. The graft could be as sympathetic or unsympathetic to it’s context as desired.
Featured Work: Tony Chester Ben Milson Sally NG
(re)naissance stage one - zoom-o-rama - cultivating the common
The final design brief required students to investigate the complex issues associated with coastal town regeneration. It evolved over a seventeen week period that was broken down into three key phases. The first phase of the unit focused on research, through site survey and analysis; the second phase focused on design development through the use of diagrams and modelling; and finally the third phase required further design development through modelling, drawing and collage. In the spirit of Cedric Price (Architect) and Joan Littlewood (Theatre Director), students were asked to provide a ‘Fun Palace’. A people powered, decentralised and unregulated space, for those who operate outside of the cultural community, providing a social exchange that can accommodate people from different walks of life; truck drivers, people accessing youth services, local residents and beyond. The aim was to encourage the development of social and cultural bonds between these various communities.
Featured Work: Alice Bates Michael Serrano Riccardo Rubin Kale Jacob Hedge
(re)script
stage two - memetic wells - fabricating the narrative
The first project in the second year of the course was a live build project, where students worked collaboratively, fabricating a large installation at the Quarterhouse in Folkestone for the yearly book festival. The installation supported a variety of activities, including a series of book signings. The materiality of the installation was intended to reflect the aesthetic of the HG Wells stories and to engage with Victoriana and the industrial steam powered machinery of the 19th Century, Steampunk. This style is often associated with nerd culture and festivals such as Burning Man. The aim and intention of the installation was to present the essence of this aesthetic as it is so quintessentially Wellsian, but in a pared back more minimal sense.
Photography: Ben Bowles
(re)programme stage two - radical heritage - unknown futures
This project explored ideas of transformation, surprise and unknown futures, through ideas of radical reprogramming of a heritage environment. Whilst the ideas of heritage conservation can seem stuck in the past, they have to encompass adaption to a new present and an unknown future of infinite possibility. Students carefully explored a part of the 14th Century moated manor house, Ightham Mote located in the west of Kent and where then asked to develop a design proposal in response to this domestic building with many layers of history.
Featured Work: Wailok Chan Constantina Karaniki Liv Kurzawa Ebamiyo Somade Tania Tatarenko
(re)articulate
stage three - old mother cupboard - a culture of curiosities
Stage Three offers students the opportunity to undertake a self-initiated design project that lasts the entire year. During this process, students set their own agenda, conducting in-depth contextual research within a shared research theme. The concept of storytelling was used as a means of developing and resolving a complex project, which provoked the students to question what a modern museum might be. As a museum is not just a repository for the collection and classification of objects, amongst other things it is a place of investigation and knowledge generation. Inspired by Orhan Pamuk’s Museum of Innocence, the students constructed a narrative that oscillated between fiction, fact and on occasion nonsense, to inform the repurposing of their original cabinets. Each cabinet expanded upon a proposed dialogue between various authors such as; Franz Kafka, George Perec, Flan O’Brien, Gertrude Stein, Ray Bradbury, Lewis Carol, Fernado Pessoa, Jorge Luis Borges, Paul Auster, Kurahashi Yumiko, Edwin Abbot, Akiko Busch, H.G Wells and Chris Ware. The repurposed cabinets explored concepts of; Installation / Intervention / Insertion. This encouraged the students to develop their own spatial narrative, which in turn informed their response to the development of a ‘museum’ in Folkestone.
Nazifa Hussian
The explosion of time is a project which exhibits a collection of captured objects from the existing site. The proposal uses existing forms to rearrange and create moments that appear to be ‘stuck in time’. The museum becomes a space that acts as a repository for the collection of the past, present and future.
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OBJECTS: 1 - Teddy Bear 2 - Documentation Booklet 3 - Bottles 4 - Tablets 5 - book of babel 6 - Wax bottle 7 -Baby Shoe 8 - Documentation paper piece 9 - Urine Sample tests 10 - Cigarette Packet
11 - Photo Frame 12 - Doll 13 - Small glass bottles 14 - Pills in bottles 15 - Flower 16 - Syringe 17 - Pocket watch 18 - Film strip 19 - Cogs 20 - Medicine Bottle
21 - Paper tangled with syringe 22 - Cabinet documentation 23 - Teddy bear cogs documentation 24 - Robot shoe 25 - Film strip two 26 - Clothing 27 -Urine strip 28 - Cigarette 29 - Baby shoe 30 - Clock cogs
Cabinet Objects
iffe rncl Sho
Site Context - 62 Shorncliffe Road, Folkstone, CT20
ad Ro
31 - Paper and math set 32 - Red note book 33 - Pills 34 - Crumpled Paper 35 - Jewellery Stand 36 - Documentation 37 - Doll diary 38 - Loose diary 39 - Teddy’s Fluff 40 - Set Square
41 - Wire Bind 42 - Pills 43 - Loose cabinet documentation 44 - Medicine 45 - Pen 46 - Leaf 47 - Russian Doll 48 - Key
Karen Ong The ‘Wall of Sound’ is a living museum designed to broadcast stories of the past and present. Situated on the site of the Leas Lift, passengers record their memories as they travel between the upper and lower buildings. The excavation of the space underneath the cars provides Folkestone with a subterranean space where visitors to the museum can immerse themselves in multiple aural histories.
wall of sound
Listening to the past, present, and future Underground Intervention
wall of sound
Precedent Studies
-
Hair Dressing During the Old Times
Phone Number Exchange in 1900s.
National Sound Archive
British Library Sound Archive
Listening to the past, present, and future Underground Staircase
Voice of the Past Alive in the Present
4
That weren't all that pretty.. This is happening...
Recording from all over the world..
Hall ofListening sounds to the past, present, and future..
Once I was seven years old...
Recording from all over the world..
Travelling around the world
1 2
Have my voice heard...
Hall of sounds
3
Sharing caring. It’s not just about the is past, also the present and future.
FFL : 0 MM I could listen Stop to myHating, own voice! start loving!
I’ll never forget you...
Beautiful sounds
Wall has ears... Have you ever listen to your own voice? I did!
14 8
7
This is interesting! I could listen to my own voice!
sounds WallHall hasofears...
PRESS HERE
INTRUCTIONS 1. 2. 3. 4. 5. 6. 7. 8.
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
PRESS HERE
009
Reading Corner
It’s not just about the past, also the present and future.
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
When I walked through the stairs...
6 Voice Recording
Testing 1, Testing 2....
Informing and shaping the future of oral history.. Listening to the past, present, and future.. Hidden from history...
We are encouraged to engage with the development of oral history
interesting! I spent my weekend here withThis my is family..
Testing 1, Testing 2.... Once I was seven years old... FFL : -9000 MM
Hello, how are you doing...
Wall has ears...
Soon I’ll be sixty years old...
Beautiful sounds I could listen to my own voice!
I could listen to my own voice! Hall of sounds
When I walked through the stairs...
Learn and share experiences...
Hello, I’m Karen.
FFL : -12000 MM
Beautiful sounds
Wall has ears...
Wall has ears... Have you ever listen to your own voice? I did!
10
Scale : 1: 20
Informing and shaping the future of oral history..
how are you doing... Living history of everyone’s unique Hello, life experiences Wall has ears... Learn and share experiences...
9
Love the moment we share together.
Hall of sounds
Travelling around the world
How can i change the world?
Stop Hating, start loving! I close my eyes and tell myself..
INTRUCTIONS 1. 2. 3. 4. 5. 6. 7. 8.
008
We are the contributors and editors throughout the world!
Stop Hating, start loving! FFL : -6000 MM
Shhh... it’s our secret!
EXIT
Hidden from history... This is interesting!
I close my eyes and tell myself..
Hall of sounds
I could listen to my own voice!
Recording from all over the world..
Stop Hating, start loving! When I walked through the stairs...
Hello, how are you doing...
Hidden from history... Wall has ears...
What Goes Around...Comes Around.. Beautiful sounds
This is interesting!
FFL : -3000 MM
What a dramatic space...
We’re stronger than we think! We are the secrets, can’t be exposed...
Soon I’ll be sixty years old... 5
This is interesting! It's been the hardest thing to do...
Living history of everyone’s unique life experiences
Informing and shaping the futureHello, of how oralarehistory.. you doing...
We’re stronger than we think!
When I walked through the stairs...
Listening to the past, present, and future..
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13 11 Axonometric - Stairs
FFL : -15000 MM
Scale : 1:50
INDEX 1. The Leas
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2. Entrance / Exit 3. Staircase 4. Lift 5. Track 6. Car 7. Voice Recorder 8. Accelerometer A
A
9. Sound Generated from Gound 10. Accelerometer B 11. Underground Section
DOWN
DOWN
DOWN
12. Wall of Sound
LIFT DOWN
WATER OUTLET
13. Cable
LIFT
TICKET OFFICE
CONTROL ROOM
GIFT SHOP
GRAB YOUR NUMBER!
GRAB YOUR NUMBER!
TODAY'S SPECIAL;
TODAY'S SPECIAL;
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
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14. Voice from the Public 15. Lower Building 16. Water Pipes 17. Reading Corner 18. Cafe
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19. Exit to Seafront / Entrance 20. Lower Sandsgate Road
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16 TRACK
EXIT
EXIT EXIT
EXIT
PRESS HERE
INTRUCTIONS 1. 2. 3. 4. 5. 6. 7. 8.
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
PRESS HERE
ABCDEEE ABCDEEE
INTRUCTIONS 1. 2. 3. 4. 5. 6. 7. 8.
ABCDEEE ABCDEEE
009
008
1. 2. 3. 4. 5. 6. 7. 8.
PRESS HERE
INTRUCTIONS 1. 2. 3. 4. 5. 6. 7. 8.
001
PRESS HERE
INTRUCTIONS
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
PRESS HERE
ABCDEEE ABCDEEE
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
PRESS HERE
ABCDEEE ABCDEEE
008
EXIT
EXIT
INTRUCTIONS 1. 2. 3. 4. 5. 6. 7. 8.
ABCDEEE ABCDEEE
009
008
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
PRESS HERE
INTRUCTIONS 1. 2. 3. 4. 5. 6. 7. 8.
INTRUCTIONS 1. 2. 3. 4. 5. 6. 7. 8.
ABCDEEE ABCDEEE
009
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
PRESS HERE
ABCDEEE ABCDEEE
INTRUCTIONS 1. 2. 3. 4. 5. 6. 7. 8.
ABCDEEE ABCDEEE
009
008
PRESS HERE
INTRUCTIONS
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
PRESS HERE
INTRUCTIONS 1. 2. 3. 4. 5. 6. 7. 8.
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
PRESS HERE
ABCDEEE ABCDEEE
1. 2. 3. 4. 5. 6. 7. 8.
INTRUCTIONS 1. 2. 3. 4. 5. 6. 7. 8.
ABCDEEE ABCDEEE
009
008
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
PRESS HERE
ABCDEEE ABCDEEE
INTRUCTIONS 1. 2. 3. 4. 5. 6. 7. 8.
ABCDEEE ABCDEEE
009
008
HAHDJFJDNGFMDV,DFNSGKNB BGFB DFGGJ DFBFGF SFGJREGK SWJFREGK, JEFKE DFJKDG KJSDF JSEHFKS JKHFK JDFHKJNGF AJFSSLGI SJDFH, ASEHFIIK DFHJKA, AEHFIRK JSDHFSDK, SFDFUH JKFGKJBNFSB SDJBFS JDFSFSDF JADKAKJV JDFSDKJVBBD DJFHK AKSHD, SDKHF DFJFH, JSADFKDD
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250
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274
280
286
292
298
304
310
316
322
269
275
293
GRAB YOUR NUMBER!
GRAB YOUR NUMBER!
TODAY'S SPECIAL;
TODAY'S SPECIAL;
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
001
007
013
019
025
031
037
043
049
055
061
067
073
079
085
091
002
008
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020
026
032
038
044
050
056
062
068
074
080
086
092
003
009
015
021
027
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057
063
069
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081
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093
004
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064
070
076
082
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005
011
017
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029
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041
047
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059
065
071
077
083
089
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006
012
018
024
030
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042
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072
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099
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100
102
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131
108
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127 128 129 130
001
007
013
061
067
073
079
085
091
133
139
145
151
157
163
169
175
181
187
193
199
205
211
217
233
239
245 002
251 008
257 014
263 020
281 038
287 044
299 056
305 062
311 068
317 074
080
086
092
134
140
146
152
158
164
170
176
182
188
194
200
206
212
218
234
240
246 003
252 009
258 015
264 021
270 027
276 033
282 039
288 045
294 051
300 057
306 063
312 069
318 075
081
087
093
135
141
147
153
159
165
171
177
183
189
195
201
207
213
219
235
241
247 004
253 010
259 016
265 022
271 028
277 034
283 040
289 046
295 052
301 058
307 064
313 070
319 076
082
088
094
136
142
154
160
172
178
190
196
208
214
236
242
254 011
260 017
266 023
272 029
278 035
284 041
290 047
296 053
302 059
308 065
314 071
320 077
083
089
095
101
137
143
149
155
161
167
173
179
185
191
197
203
209
215
231
237
243
249 006
255 012
261 018
267 024
273 030
279 036
285 042
291 048
297 054
303 060
309 066
315 072
321 078
084
090
096
102
138
144
150
156
162
168
174
180
186
192
198
204
210
216
232
238
244
250
256
262
268
274
280
286
292
298
304
310
316
322
148
166
184
202
230
248 005
019
025 269 026
031 275 032
037
043
049 293 050
055
097
103
109
115
098
104
110
116
099
105
111
117
100
106
112
118
107
113
119
125
131
108
114
120
121
127
122
128
123
129
124
126
130
132
269
293
299
305
311
294
300
306
312
318
295
301
307
313
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302
308
314
320
303
309
315
321
310
316
322
133
139
145
151
157
163
169
175
181
187
193
199
205
211
217
233
239
245
251
257
263
275
281
287
134
140
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152
158
164
170
176
182
188
194
200
206
212
218
234
240
246
252
258
264
270
276
282
288
135
141
147
153
159
165
171
177
183
189
195
201
207
213
219
235
241
247
253
259
265
271
277
283
289
136
142
148
154
160
166
172
178
184
190
196
202
208
214
230
236
242
248
254
260
266
272
278
284
290
296
137
143
149
155
161
167
173
179
185
191
197
203
209
215
231
237
243
249
255
261
267
273
279
285
291
297
138
144
150
156
162
168
174
180
186
192
198
204
210
216
232
238
244
250
256
262
268
274
280
286
292
298
304
317
GRAB YOUR NUMBER!
GRAB YOUR NUMBER!
TODAY'S SPECIAL;
TODAY'S SPECIAL;
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
001
007
013
019
025
031
037
043
049
055
061
067
073
079
085
091
002
008
014
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026
032
038
044
050
056
062
068
074
080
086
092
003
009
015
021
027
033
039
045
051
057
063
069
075
081
087
093
004
010
016
022
028
034
040
046
052
058
064
070
076
082
088
094
005
011
017
023
029
035
041
047
053
059
065
071
077
083
089
095
101
006
012
018
024
030
036
042
048
054
060
066
072
078
084
090
096
102
097
103
109
115
121
098
104
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122
099
105
111
117
123
100
106
112
118
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107
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125
131
108
114
120
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132
127 128 129 130
133
139
145
151
157
163
169
175
181
187
193
199
205
211
217
233
239
245
251
257
263
269 001
275 007
281 013
287 019
311 043
317 049
055
061
067
073
079
085
091
140
146
152
158
164
170
176
182
188
194
200
206
212
218
234
240
246
252
258
264
270 002
276 008
282 014
288 020
294 026
299 031 300 032
305 037
134
306 038
312 044
318 050
056
062
068
074
080
086
092
135
141
147
153
159
165
171
177
183
189
195
201
207
213
219
235
241
247
253
259
265
271 003
277 009
283 015
289 021
295 027
301 033
307 039
313 045
319 051
057
063
069
075
081
087
093
136
142
148
154
160
166
172
178
184
190
196
202
208
214
230
236
242
248
254
260
266
179
185
191
197
203
209
215
231
237
243
249
255
261
267
071
077
083
089
095
101
186
192
198
204
210
216
232
238
244
250
256
262
268
320 052 321 053 322 054
065
180
314 046 315 047 316 048
059
174
308 040 309 041 310 042
094
173
168
302 034 303 035 304 036
088
167
162
296 028 297 029 298 030
082
161
156
290 022 291 023 292 024
076
155
150
284 016 285 017 286 018
070
149
144
278 010 279 011 280 012
064
143
272 004 273 005 274 006
058
137 138
060
066
072
078
084
090
096
102
293 025
097
103
109
115
098
104
110
116
099
105
111
117
100
106
112
118
124
107
113
119
125
131
108
114
120
121
127
122
128
123
126
129
132
130
133
139
145
151
157
163
169
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181
187
193
199
205
211
217
233
239
245
251
257
263
275
281
287
293
299
305
311
134
140
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164
170
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182
188
194
200
206
212
218
234
240
246
252
258
264
270
276
282
288
294
300
306
312
318
135
141
147
153
159
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171
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183
189
195
201
207
213
219
235
241
247
253
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265
271
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283
289
295
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307
313
319
136
142
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172
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190
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208
214
236
242
254
260
266
272
278
284
290
296
302
308
314
320
137
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149
155
161
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173
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185
191
197
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209
215
231
237
243
249
255
261
267
273
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285
291
297
303
309
315
321
138
144
150
156
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168
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180
186
192
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204
210
216
232
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244
250
256
262
268
274
280
286
292
298
304
310
316
322
148
166
184
202
230
248
269
317
GRAB YOUR NUMBER!
GRAB YOUR NUMBER!
GRAB YOUR NUMBER!
GRAB YOUR NUMBER!
TODAY'S SPECIAL;
TODAY'S SPECIAL;
TODAY'S SPECIAL;
TODAY'S SPECIAL;
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
GRAB YOUR NUMBER!
GRAB YOUR NUMBER!
TODAY'S SPECIAL;
TODAY'S SPECIAL;
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
001
007
013
019
025
031
037
043
049
055
061
067
073
079
085
091
002
008
014
020
026
032
038
044
050
056
062
068
074
080
086
092
003
009
015
021
027
033
039
045
051
057
063
069
075
081
087
093
004
010
016
022
028
034
040
046
052
058
064
070
076
082
088
094
005
011
017
023
029
035
041
047
053
059
065
071
077
083
089
095
101
006
012
018
024
030
036
042
048
054
060
066
072
078
084
090
096
102
097
103
109
115
098
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110
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099
105
111
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100
106
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125
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121
127
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293
299
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311
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318
295
301
307
313
319
302
308
314
320
303
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315
321
304
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133
139
145
151
157
163
169
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181
187
193
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205
211
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233
239
245
251
257
263
269
275
281
287
134
140
146
152
158
164
170
176
182
188
194
200
206
212
218
234
240
246
252
258
264
270
276
282
288
135
141
147
153
159
165
171
177
183
189
195
201
207
213
219
235
241
247
253
259
265
271
277
283
289
136
142
148
154
160
166
172
178
184
190
196
202
208
214
230
236
242
248
254
260
266
272
278
284
290
296
137
143
149
155
161
167
173
179
185
191
197
203
209
215
231
237
243
249
255
261
267
273
279
285
291
297
138
144
150
156
162
168
174
180
186
192
198
204
210
216
232
238
244
250
256
262
268
274
280
286
292
298
317
GRAB YOUR NUMBER!
GRAB YOUR NUMBER!
TODAY'S SPECIAL;
TODAY'S SPECIAL;
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
ICED MOCHA FRAP ICED FRUIT SMOOTHIE STRAWBERRY SHORTCAKE
LOWER STATION TANKS
BACK OFFICE CONTROL ROOM
PUMP HOUSE
WAITING ROOM
DOWN
RAMP DOWN
BENCH
Construction Phase (Building Planning, Pre-fab)
Underground (Memories Archive) Building Phase 1
Attraction in Fokestones. Building in Good Condition.
Heavily visited. Mold begin to grow in the buidling.
Danger! Risk of electrical shock may occured.
Digging out and cleaning the soil in the underground.
Enter
Became one of the most popular attraction in Folkestones.
The underground has became cold and damp.
Preserved and restore programme need to be taken out immediately.
Get the prefabrication material transport to the site.
Sounds generated from the ground through accelerometer.
RAMP DOWN
BENCH TICKET OFFICE
A
through
the
stairs
/
lift.
Installation and construction taken place at the site.
Building Layout Plan
Scale : 1: 250
Estimate Building Time : 5 Years
Dark space, slightly shifted to another direction or dimension.
Number of visitors reduced, voices reduced. Sound goes simultaneously interesting background.
and
created
an
Limited light source provide a more poetic space.
Flies and garbage can be seen everywhere. Mold and corrosion takes place due to the humid environment.
A place for homeless people to stay over.
wall of sound
Listening to the past, present, and future.
Intervention - Underground Section A-A (ii) Scale: 1:50
Poppy Younger This project provides an insight into the materiality of 8 Rendezvous Street, situated in Folkestone’s Town centre. Through a series of controlled explosions, the museum will reveal the life of the building, through a series of frozen explosions. The proposal explores the concept of the building as a museum.
N
3000MM
B
B
3000MM
SECOND FLOOR PLAN 1:100
GROUND FLOOR INTERIOR VIEW
7
B
2000MM
B
FIRST FLOOR PLAN 1:100
3000MM
BASEMENT FLOOR INTERIOR VIEW
8
B
B
9
6 GROUND FLOOR PLAN 1:100
11
4
5
3
B
2000MM
B
12
2000MM
BASEMENT FLOOR PLAN 1:100
10 2 1
SECTION BB 1. Concrete Foundation 2. Concrete Slab 3. Exterior Wall: Brick, Lath and Plaster 4. Floor Boards: Plywood, Timber Joists/Steel Scaffolding Plywood and White Marble Tiles 5. Scaffolding 6. Glass Panelled Cube 7. Glass Rods 8. Brick 9. Timber 10. Lockers 11. Reception Desk 12. Interactive Shelving Unit
SECTION BB 1000MM
2000MM
2
D
4 7
10
9
Model Inspired By Diller and Scofidio
MEMORIAL OBJECTS
MEDICAL OBJECTS
5 7
1
INTERIOR V 3 14
7 8
INTERIOR VIEW OF GROUND FLOOR
7
7
4 15
10
14 Model Inspired By Diller and Scofidio
11 7
6
7
7
12 13
17 PLAN OF CABINET EXPLOSION (IDENTITY OUTBURST)
8
7 10
16
1. Cabinet 2. Grid 3. Medical Samples 4. Medicine Bottle 5. Painkillers 6. Medicine Bottles 7. Diary Fragment 8. Frame 9. Cigarettes 10. Negative 11. Teddy Bear 12. Clothing 13. Diary 14. Shoe 15. Envelope 16. Set Square 17. Syringe
PLAN 1:5
5M 1M
4M 3M 2M 1M
1M 1M
2M
3M
4M
INTERIOR VIEW OF SECOND FLOOR INTERIOR VIEW OF GROUND FLOOR
INTERIOR VIEW OF BASEMENT FLOOR
1:5
INTERIOR V
Zhen Ping Low Motion in emotion is a museum that encourages visitors to express their emotions, both through self portraiture and the written word. Situated on the site on the Leas Lift, the design exploits the movement of the carriages as they ascend and descend, giving visitors the opportunity to record their feelings. The museum then acts as a repository for the various emotional responses.
00sec.
9 10
5 4 15sec.
8
3
6
2
7
30sec.
1
STOP - 5min.
5min 15sec.
5min 30sec. 1 BENCH 2 PHOTOBOOTH 3 SCREEN 4
CAMERA
5 FLASH LIGHT 6
DISPLAY SHELF
7 DOOR TO ANOTHER CAR 8 ENTRANCE / EXIT 9 DISPLAY SHELF 10 WRITTING DESK
6min.
sometimes it’s not the song that make you emotional.... it’s the people and things that come to your mind when you hear it...
WRITE DOWN YOUR EMOTION
KEEP INSIDE THE DISPLAY SHELF
WRITTING DISPLAY SHELF
TAKE PHOTO AND COLLECT
KEEP INSIDE THE DISPLAY SHELF
PHOTO DISPLAY SHELF
The only people who deserve to be in your life are the ones who treat you with love, kindness and respect.
WRITTING DESK DETAIL SCALE: 1-10
PHOTOBOOTH DETAIL SCALE: 1-10
Samuel Mbugua Informed by Franz Kafka’s short story Metamorphosis, the project explores the transformation of Martello Tower One, from a domestic property to a museum that accommodates different species of beetles from around the world. Visitors will get the opportunity to immerse themselves within an environment dedicated to the beetle.
Nicholas Campbell-Mhlope The project is based on the concept of neglected objects, forgotten histories and lost memories. The redevelopment of the interior space of the Martello Tower aims to invite people to examine their relationships to the histories of objects from the Napoleonic war. The faded images, created by casting the objects’ shadows, symbolise distant memories of histories of use.
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d.
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b.
a.
c)
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a)
b. 1.
2.
1)
2.
Elevation & Plan 1:5 scale
Elevation 1:5 scale
Objects: ai) Picture Frame d) Jigsaw Puzzle g) Candle j) Flowers n) Lantern
Objects: 1) Chair 2) Objects
b) Camera c) Connect Four e) Glasses f ) Wooden Fruit Ball h) Wooden Fruit ball i) Bottle Glass k) Robot (Gertrude) m) Fan
Movement a) Robot side c) Robot Front
Elevation & Plan 1:5 scale
Elevation 1:5 scale
Movement 1) robot 2) robot
Material: Objects: a1) Wood a2) Cabinet Wood Frame Perspective ai) Picture a3) Close up of the wood d) Jigsaw Puzzle g) Candle j) Flowers n) Lantern
b) Camera e) Glasses h) Wooden Fruit ball k) Robot (Gertrude)
Material: a1) Wood
Objects: 1) Chair 2) Objects
c) Connect Four f) Wooden Fruit Ball i) Bottle Glass m) Fan
b) Robot side d) Robot Front
Material: a1) Wood
Material: a1) Wood a2) Cabinet Wood Perspective
1:100 Perpendicular Urban Section Objects Purpose a)Refile b)Ladder c) Craits containing gun powder The Material 1) Brick Action/Movement: 1a) Look out
2e) 5i)
a1) 3f)
e) a)
f)
4g)
c) d)
b)
1:50 The Neglected Tower Section Forgotten Objects a)Refil b)Cannon ball
e) Crait containing gun powder f) Medal g) Water bottle
Objects: a) Sand Timer b) Vars c) Camera d) Doll house wall e) Glasses f ) Jigsaw g) Chandleir h) Harmonica i) Wooden Folding j) Book K) Wooden Fruit Bowl Shirt Board
Section & Plan 1:5 scale
Movement 1) robot
Objects: a) Sand Timer d) Doll house wall g) Chandleir j) Book Movement 1) Robot Material: a1) Wood
Cabinet 1:5
1)
1.
Material: a1) Wood
Movement a) Robot side c) Robot Front
Movement 1) robot 2) robot
Section & Plan 1:5 scale b) Robot side d) Robot Front
b) Vars c) Camera e) Glasses f) Jigsaw h) Harmonica i) Wooden Folding K) Wooden Fruit Bowl Shirt Board
Kayleigh Wallington Museum of Light and Sound will be the first of a series of museums located in one of the few remaining Martello Towers. The proposal celebrates the exploration of our environment. Exposed openings in the walls allow light, wind and rain to enter the building, providing a series of spaces for writers to use in response to the various environmental conditions. The museum staff then archive and display the writers work produced in the building.
Proposed Section Scale 1:20
New shutters in place to block any light entering the building New opening through existing structure No.1 New opening through existing structure No.2 New stairway leading to first floor New opening through existing structure No.3 Existing enterance New opening through existing structure No.4 New seating areas infront of windows
Proposed ground floor plan scale 1:50
New opening through existing structure No.5 New enterance from new ground floor stairway New opening through existing structure No.6 New opening through existing structure No.7 Existing stairway to second floor New opening through existing structure No.8 New seating areas infront of windows
Proposed first floor plan scale 1:50
Existing stairway from first floor New concrete wall for writers work to be displayed
New display cabinets for writers work New 360 platform around the top of the building
New spiral staircase leading to the third floor
Existing chimney New staircase
New concrete wall with crack of light
Proposed section
Void over the second floor
Scale 1:50
Proposed second floor plan scale 1:50
Proposed third floor plan scale 1:50
Existing elevation Scale 1:50
Ashley Smith The clinic for dolls is a museum which displays dolls once they have been repaired. Once repaired they have the option to take them home or leave them behind for the purpose of allowing others the opportunity to view.
DETAIL 1.10
DETAIL 1.10
DETAIL 1.10
DETAIL 1.10
AXONAMETRIC: FURNITURE
AXONEMTRIC 1.100
Hi I’m Chloe I’m 4, my brother broke ‘Charlene’ she’s my doll, so when mummy took me to get my doll fixed at the magic shop, the man took all my pieces and put them in a box you could see out of. When mummy gave the man my doll I seen lots of other pieces of dolls in boxes around the building. It looks like they all died. Mummy took me upstairs. The room was so big the ceiling was touching the sky.it was very bright and the dolls went all the way up to the ceiling. I could smell wood, and there were ladders the woman used to get the dolls into the boxes, the ladders moved from side to side. I looked in one box it was bright yellow and the doll had been fixed and it looked okay but in another box it looked funny, they put its head under the arm and its foot onto of its head, it was silly!
WORKER PLACING DOLL IN CABINET
TO BE TAKEN TO GET FIXED
CHLOE HANDING OVER DOLL
CHLOE AND MUM GOING TO COLLECTION
Fixation Station
SECTION A.B
ENTRANCE VIA COLLECTION POINT
AXO OF CABINET
Earth Theeprawat The project focused on what a museum might be through the research of the book ‘The Museum of Innocence’ by Orhan Pamuk and ‘Flatland’ by Edwin Abbot. The protagonist lives his life wondering about the possibilities and finding new dimensions. His stories are about experiencing the fantasy world as a way of escaping his ordinary life and as he uses the typewriter to create stories. The objects that he has collected suddenly has a new life.
Chantelle Gadd The first phase of the project was based on Cabinets of Curiosity. The research of Cabinets of Curiosity, Repurposed Furniture and Museums aided the development of the project alongside an exploration of the work of Courtney Smith and Orhan Pamuk. The starting point for this phase was to discover the similarities between two pieces of fictional writing to develop a concept, in my case Fahrenheit 451 by Ray Bradbury and The Woman with the Flying Head by Kurahashi Yumiko. The common underlying themes were liberty and assumption. From there the narrative was developed where Ray Bradbury had become the main character in his own book and although he was burning down buildings, was
saving fragments of books that have helped form modern society in some way or another. Ray then took it upon himself to repurpose Kurahashi Yumiko’s cabinet to document these burnt fragments The idea was to remodel a cabinet to reflect the concept. I decided to keep the external appearance of the cabinet the same and ‘install’ something within the it that archived the burnt fragments of books. The second phase of the project was to develop a Museum.
I decided to make my museum into a private club for wealthy aristocrats who were taking the liberty to burn down peoples property and take something from it. They assume that they are above the law and can do whatever they wish and take an item back to the private club as a trophy. The museum will develop over time with the addition of these stolen items. Factual information based arson attacks and fires was then used to inform the design of my museum.
I identified 8 Rendezvous Street which is currently a sweet shop. The facade of this building is dressed up with fancy Victorian motifs whereas the interior is bland, shabby and dull.
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OBJECT TAKEN
EVENT/FIRE
8 RENDEZVOUS ST - PRIVATE MEMBERS CLUB
SECRET TRADE
CABINET/DESTINATION A. 1:100 Longitudinal Urban Section B. 1:50 Longitudinal Section C. 1:50 Elevation D. 1:50 Basement Plan E. 1:50 Ground Floor Plan F. 1:50 First Floor Plan G. 1:50 Second Floor Plan
Longitudinal Sections 8 Rendezvous Street
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There will be secret routes from the other buildings that are owned by The Pound Brothers into 8 Rendezvous St to get the objects to their final destination. A secret code will take place within the shops, a specific item will be purchased and a key will be given alongside that item which correlates to a door within the building that accesses the secret club.
SIGNIFICANT PERSON
March 2016
June 2016
April 2016
July 2016
September 2016
December 2016
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January 2017
November 2016
February 2017
DATE/ TIME BURNT
1:100 Plan Showing the Properties owned by The Pound Brothers Concept Diagram
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Diagram to show how the objects will be arranged within the building The objects will be arranged chronologically in date order
OBJECT PLACEMENT Object Configuration Diagram
ORWELL, G
JOHNSON, S
LINCOLN, A
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Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal. - Abraham Lincoln
If liberty means anything at all, it means the right to tell people what they do not want to hear. - George Orwell
Few enterprises of great labor or hazard would be undertaken if we had not the power of magnifying the advantages we expect from them. - Samuel Johnson
Plans of Cabinet and Spatial Notation showing process of object
A. 1:5 Plan of cabinet closed B. 1:5 Plan of cabinet open C. 1:1 Detail of pivot mechanism D. 1:1 Detail of rod and hex nut used for vertical configuration E. Diagram to navigate installation within the cabinet F. 1:1 Magnifying glass G.1:1 Object
1:50 First Floor Mapping of Fires from in Folkestone from June 2016 - August 2016 Circulation
1:50 Second Floor Mapping of Fires from in Folkestone from March 2016 - May 2016 Circulation
1:50 Basement Mapping of Fires in Folkestone from December 2016 - February 2017 Circulation
1:50 Ground Floor Mapping of Fires in Folkestone from September 2016 - November 2016 Circulation
Diagram showing Fires in Folkestone from March 2016 - February 2017 Circulation
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Circulation Diagram
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A. 1:5 Front elevation closed B. 1:5 Front elevation open C. 1:5 Side elevation closed D. 1:5 Side elevation open E. Diagram to navigate installation within the cabinet F. 1:1 Detail of hinge G.1:1 Key H. 1:1 Detail of pivot mechanism I. 1:1 Magnifying glass
Elevations of Cabinet and Spatial Notation showing interaction between the user and the cabinet
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These conceptual models were exploratory, created by using the site drawings to inform spaces and the forms for the design. I decided to use paper and coloured acetate to investigate materiality and light and shadows. I was also looking at movement, circulation and points of interest.
Conceptual Model Images
Herbert Read Gallery A MODEST MANIFESTO... WORK IN PROGRESS HERBERT READ GALLERY 12TH JANUARY - 31ST JANUARY 2017 This exhibition gave our Stage 3 students the opportunity to exhibit the initial stages of their year long project. Alongside the repurposed cabinets were a series of speculative drawings, as well as a series of films, inspired by the work of Jan Svankmajer.
(re)deploy canterbury - venice - paris - london - folkestone
Being situated in a comparatively small school of architecture, we are able to offer a study trip across all three years of our undergraduate studies. In the past, the Stage One students have travelled to Berlin, Rome and Vienna. More recently we have established a trip to Paris. Just a quick jump on the Eurostar and we’re in Paris in a couple of hours. Some of the places we have visited in Paris are: Communist Party Headquarters : Oscar Niemeyer Parc La Villete: Bernard Tschumi Fondation Cartier / Institute du Monde Arabe / Quai Branly Museum: Jean Nouvel L/Oblique: Cité Internationale Universitaire Centre Pompidou: Renzo Piano + Richard Rogers Villa Savoye: Le Corbuser Palais de Tokyo - Lacaton + Vassal La Cité de l’architecture & du Patrimoine Pavillon de l’Arsenal In Stages Two and Three, students have travelled to: Venice Innsbruck Seville and beyond...
Stage Three Convenor: Rob Nice
Stage Two Convenor: Lucy Jones
Stage One Convenor: Rob Nice
Course Leader Rob Nice
Sessional Team: Anna-Maria Baranowska Tim Ratliff
Sessional Team: David Di Duca
Sessional Team: Demian Erbar Tabatha Harris-Mills Afra v’ant Land Tamsin Landells Holger Matte Julian Seagars sDaniel Tollady Lizzie Upham
Cultural Context: Anna Holder Kim Trogal Allan Atlee
Stage Three Students: Nicholas Campbell-Mhlope Chantelle Gadd Caroline Grant Nazifa Hussain Zhen Ping Low Samuel Mbugua Karen Ong Ashley Smith Kanchanaporn Theeprawat Kayleigh Wallington Poppy Younger
Stage Two Students: Deniz Afuz Vatika Bassi Wailok Chan Lawson Cook Ruku Gurung Drishti Jain Constantina Karaniki Alanur Koc Liv Kurzawa Nelshea Simons-bean Ebamiyo Somade Tania Tatarenko Bhagyashree Walunj Arancha Alguacil GarcĂa Emelina Franzen Laura Rubio Rocamora Silvia Melli
Stage One Students: Sadie Abbott Leke Adelaja Paige Archer Esther Ayibiowu Lydia Bagley Nilofur Benjamin Lily Burroughs-Evans Amanda Bradbury Tafara Chibebe Kalina Darakchieva Frances De Havas Valentina Diaconu Omar El-Khodary Sweeta Ghasemi Samantha Giles Aysun Gozel Melanie Juergensen Rubin Kale Dovile Kemezaite Yumna Khan Soriya Labovitch Zoe Langford Samiksha Munot Hattie Naine Heather Newbury Billy Newton Charlie Newton Dayo Odubeko Chuqi Ou Marilyn Rey Michael Serrano Daria Stankowska Maria Stavrou Charlie Sutton Holly Walter
Media + Communications: JJ Brophy Professional Practice: Suzanne Gaballa Technical Support Staff: Chris Settle Ben Westacott Course Administrator: Tracie Money Visiting Critics: Vasiles Polydorou James Whitaker Kelly Stroud Ollie Hill Ashmi Thapar Jay Morton Benedetta Rogers Georgina Scott Curator Anna Maria BaranowskaStudio Kevin Kelly Matthew Walker Dan Stilwell Charles Bain-Smith Suzanne Gaballa Owain Capuana-Davies Many thanks to: Heather Newton and the team based at Canterbury Cathedral The Quarterhouse The National Trust
BA(Hons) Interior Architecture & Design Canterbury School of Architecture (est. 1952) University for the Creative Arts New Dover Road, Canterbury Kent, CT1 3AN
people + places