THE INTERNATIONAL REVIEW OF GRAPHIC DESIGN
ALEXANDER GAISIE-WALKER JASNEET RATAN DESIGN POLICIES TUNISIA
ARCHITECTURE SPECIAL REVIEW
84 AUTUMN 2012
EYE NO. 84 VOL. 21 WINTER 2012
design policies ALEXANDER GAISIE-WALKER JASNEET RATAN
“I want to punch censorship in the face! I want to put a middle finger up to those with power. It is because of censorship we can’t say stuff like ”
We met Alexander Gaisie-Walker and Jasneet Ratan at their residence in Tottenham, London- a plethora of multiculturalism. At the door, we’re greeted by the welcoming smiles of two characters who at their core are very serious designers. They appear ‘dressed down’ and comfortable- a perfect visual metaphor that complies with their strict ideology of ‘form through function’. Their similarities in thought process and reasoning would lead anyone to believe that the same could be applicable for their design and that their design ‘language’ would be similar. That might ring true to some extent, but as they explain it- there is so much more to a building than JUST form or JUST function. Architecture is more than just a degree for these mesmerisingly complex and paradoxical pair. In their words ‘It is the philosophy of life’. Jasneet (in her 4th year) and Alexander (in his 5th year of architectural discipline) talk about architecture in relation to themselves as individuals, as a pair and their most recent projects.
1—2. Quick sketch for sunlight, thermal and ventilation distribution in Mahdia, Tunisia- Alex. ‘I did a lot of small sketches to figure out a lot of intricate details of the proposal. It’s a very big project and even though it will probably never be built it is always important to do it with great competency and thought.’
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I practiced most forms of design, from fashion to graphic design and went through wanting to pursue each of them individually. 2
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Did you always want to follow the architectural discipline? ALEX I was at a point of uncertainty in between employment and college. I was quite confused about what direction to follow. Also, I wasn’t very good at writing essays so I thought I would choose a design based course, unknowing of the fact that architecture is especially philosophical. At the time my ‘career’ options were short-listed between Media and Information Technology- subjects I had studied in college. However, after a year of work I suddenly decided to pursue architecture and interior design at London Metropolitan University.
practices over a couple of years and decided this is exactly the kind of hell I wanted! It is a long degree, so you sometimes wish you were doing something else? A I think its a love-hate relationship. Sometimes I question myself as to why I picked a course with so little employability but I do love and enjoy the subject. It’s a good feeling when you do well. My final year has been spent quite quickly.
J It is a long degree- minimum of 8 years if you do everything right away. Traditionally it’s in 3 parts; Part 1 is the bachelor’s degree, JASNEET No. I never knew what Part 2 involves your Diploma, and I wanted to be. I just knew that then before taking your final Part design would be an integral part 3 exam you need to have at least of whatever I did. I practiced most 2 years of practical experience. forms of design, from fashion to Yes, there are times I have regretgraphic design and went through ted my choice of pursuing archiwanting to pursue each of them tecture- it becomes so stressful individually. I’d always been and takes over all the other parts involved with building design of your life, but when the stress though, as my dad was practically passes I realise there is no other a self-made builder. It was his type of work I would dedicate so hobby. At the point he suggestmuch and effort to. I do love what ed architecture to me, I had just I do. It’s a lifestyle for me, not a started studying A-levels, I didn’t career. really know what it was! So I hunted around for some volunteer Apart from architecture what other work ended up working in two interests do you adhere to?
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A It’s mostly about architecture, but it is quite strange- once you have studied architecture you begin to look at things differently; for example, asking myself ‘I wonder who designed this fork’ or noticing expansion joints on a building. When I have time I like to travel as much as I can- experiencing new things, riding my motorbike, skateboarding and definitely partying! J At the moment nothing! Once you start Architecture at university there’s no time for anything else. But other than architecture I paint, mainly portraits in acrylic or pencil work, sew, knit, I’ve done woodwork and graphic design. I think when you do anything in the design industry you mostly have the base skills and thought processes to be able practice other than areas of design. If not in the concepts of the design then definitely in the ways in which ideas were represented, drawn and the mediums they are portrayed through. Does it influence your work? A Everything can influence me! I think the idea behind architecture is that you create a mental library of precedents that you summon when required. I would
say that minimalism, futurism, concept worlds and post modern furniture inspire my design. I see myself as a purist, really. J At times, yes, but I mostly have to respond to a problem offered and have to respond appropriately. I think, subconsciously every design is a sum total of our nature and the way we were nurtured. In that sense, yes maybe... it does influence me. How would you describe your design language? A It’s very hard to define something as tangible as ‘design language’. It depends on the offered problem really. I adore long and thing structures with exposed materiality. It feels like you’re peering into the very being of a structure.
It’s very hard to define something as tangible as design language
3. Context section through Mahdia, Tunisia- Jasneet. ‘This is a section through the Old Town of Mahdia with an intervention- where our Project was based. I don’t think we realise how intricately layered a city is until they analyse it.’
J My work is very responsive to context and client, so the style varies with each project. The closest name for a ‘style’ I can think of would be a Post-Modern one with a strong emphasis on materiality. The juxtaposition and play of materials is always something that plays a strong part in my projects.
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...they feel more like clubs for older men.
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4. A plan showing Jasneet’s intervention on the site. ‘I decided to break open a section of the existing market, not only as a functional invervention, but also as a social and a metaphorical one. I wanted to signify the idea of oneness through the mixing of age and gender’ 5. Section showing detail and materiality through the proposed autitorium.
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Jasneet explains her Third Year Project in Tunisia— the analysis of the problematic and her proposed solution. My final degree project is a social response to the situation in the city of Mahdia, Tunisia- for the social needs of the city people. Mahdia, to the outsider, is a beautiful paradise or a tourist destination. However, for the locals it is equivalent an open prison. There are many people attempting to escape the country (unsuccessfully) and they feel that the city has nothing to offer them- in terms of ownership and socially. Mahdia is a very male-dominated town (like most of the country), there are many cafés in the town yet none can really be called social spaces, they feel more like clubs for older men. There is a lack of something exciting belonging to the town- for the people to be proud of. Having stated that the people feel disfranchised, there are spaces like the mosque and the market. In contemporary cities markets can be a space for congregation and meeting, as well as shopping. They seem to be one of the major spaces in the city. The market in Mahdia may have the scope of a major building with its untraditional design and size but it still remains a desolate area entered only for shopping for food. My intention was to work with this existing food market, extend it and connect to it a ‘media market’ which together aims to create a new and exciting space for new uses, activities and leisure as well as maintaining and improving the space for the food market and the weekly market which occupies most of the streets. The scheme includes a media library, internet cafe and an unconventional auditorium
space which is available for hire and able to change to cater to different users’ needs. The curved end of market is unused and draws access to the rear of the building and a park. I began to create accesses through this space, connecting the scheme to the rear of the building and making it a transitional area between the existing and new build, creating separate road passages either side and extending the public realm- making use of the rear of the building making it an active social area. The trees in Mahdia were trimmed as hedges would be to create these canopies in various spaces and above sidewalks. They may look strange to the eye but help shade the streets from the sun and were used in some places to enhance natural ventilation. Curiously, this created an ‘interior’ space within an exterior space. The tree canopies inspired the idea of lifting the auditorium space and using the inclined underside to create a shaded under-croft for social activities and also create a tunnel underneath the building to draw in fresh sea air. The garden area was landscaped to slope up and meet the side of the auditorium allowing for it to be opened up and allow people to ‘pour’ out during certain events. I was happy with the project and its outcome but in architecture there is never really a satisfying end. More things can always be done, things can always be improved.
The ruins and the scarred landscape express the exploitation of the Palestinian people.
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6. Analysis drawings showing the effect of the quarry dust with the different seasons and wind directions. 7—8. A rendering showing ‘Filters’ that compact the harmful dust into letter forms and images. 9. Section showing Jasneet’s intervention on the site. ‘The Amphitheatre is supposed to bring the people together into one melting pot of cultural acceptance and hopefully break barriers.’
Alex explains his latest project in Palestine based on Quarrying in this extract explaining the project.
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What Is The Problem? The research on quarrying within has shown the human and environmental cost of the industry. The economics of quarrying sheds greater light onto the issue of Israeli occupation and financial oppression. The problems within quarrying in Palestine are a microcosm of the greater issues of the conflict with Israel. The net results of environmental degradation, impact on health and loss of national identity are caused by conscious efforts to exploit the Palestinian people and their resources. The restrictions of movement, lack of transparency in the system, aggressive business tactics, and the reconstitution of Palestinian resources as Israeli, leads to loss of identity, land, heritage, and power. Our research has shown that stone is a symbol for cultural identity in Palestine. Mahmoud Darwish uses stone as a symbol of strength and durability, but also as rubble- a symbol of poverty and destruction. The ruins and the scarred landscape express the exploitation of the Palestinian people. What Is The Solution? We believe that the solution will only come from improving the quality of life for Palestinians, empowering them to tackle these problems from within, and by reinvigorating a sense of cultural identity. The quality of life is an issue that needs to be addressed from the top. Like ending the conflict, it can only happen when political leaders from both sides come together to find a solution that the majority can
agree on. A solution we can achieve is an installation that uses stone as a tool to create legacy and strengthen national identity- a physical object/process that incorporates new skills and materials and involves the community. If we can raise awareness of the human and environmental costs of quarrying, there is a potential to push for the end of its destructive forces. How Do We Achieve This? We propose to create an Earthen Printing Press. This device will compress earth into tiles while inscribing them with words and/or images. These tiles will hold a story that is unique to the person who pressed them. As a collection it will represent the wider community as more people become involved. This is an inclusive process that incorporates new skills and materials that create a lasting legacy, reinvigorating the cultural identity of the region. The tiles will be displayed on a piece of public furniture made of layers of rammed earth, which holds an imprint of stone form-work that has been taken away. Therefore there will be three finishes to this piece: the tiles that represent identity, the neatly finished rammed earth representing the layering of time, and the jagged imprints of stone that represent the scarring of the land. This missing stone form-work represents the loss of land and resources that is the outcome of Israeli occupation. Furthermore— we propose to create a short introductory animation that explains the issues we have highlighted in our research and demonstrates an idealistic solution to the wider problems. EYE 84/12 5
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84 GREAT BRITAIN £17
2012