C PORTFOLIO
Charlotte Bywaters Athena Hall University Avenue Ipswich IP3 0FR C.Bywaters@ucs.ac.uk 07974687504
CirriculumVitae Person
Colchester Sixth Form College, Essex [2010-2012]
I am going into my final year at University Campus Suffolk and at the forefront of my concerns is the preservation and rejuvenation of our nations abandoned and neglected establishments hidden away around every corner. The education I am receiving will hopefully enable me to pursue a career that can attack those current economic issues. I feel it is a subject that is continuously evolving and adapting and it requires like-minded people to deliver it. Key strengths include:
Alec Hunter Humanities College, Essex [2005-2010]
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Reliable - Hard working individual who aims to deliver tasks in a thorough manner on time Competent – Capable of working either independently or as part of a team Resourceful – quick to solve problems and help a task run more smoothly in an organized profession
A Level’s - Fine Art [A*], Chemistry [B], Biology [B] and Mathematics [C] GCSE’s [A*-A] - Compulsory subjects &, Art, Geography, Triple Science and French Painting Competition [2010]
Two of my paintings were exhibited as part of the ‘Saatchi Gallery Art Prizes for Schools award’, London
Skill
Experience & Employment
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Little White Box, Essex – Work experience/ Part-Time Employment – [2014-ongoing] - Liaised with clients - Worked in collaboration with them on a current project at the time - Answered calls and processed orders - General filing
Hardware: Model making, sketching, painting Software: Proficient in Adobe Photoshop, Indesign, Auto CAD, Sketch-up, Microsoft Office
Education & Achievements University Campus Suffolk [2014 – ongoing]
Undergraduate [BA] Hons Interior Architecture and Design The modules delivered in this course are in depth and attack the subject from a myriad of angles. It is fast paced which has taught me to be efficient and aware of my time management. The briefs are varied and each has allowed me to take into consideration variables of the space that weren’t apparent in the previous. It has enabled me to gain a wealth of knowledge about industry standard design software which has been required in submission criteria. Through model making I have become competent with the laser cutter programme and facility with the creation of physical model submissions. In accordance with being aware of current obligations, design technology has provided me with the knowledge about current building standards and methods in practise along with the environmental impacts it can pose.
Green Dragon, Essex - [2012-2014] - Worked multiple roles – helped to develop my ability to multi-task and learn skills across a broad range - I communicated with customers in person, over the telephone and online – this increased my confidence with approaching people on different platforms - Frequently understaffed and very popular for customers – problem solving in a quick and orderly fashion to maintain a positive relation with customers TTG Architects, London - Work experience - 1 Week [2012] - Challenged my current knowledge of computer based design work and the thought processes involved in generating innovative ideas - Participated in various activities which gave me an insight into the many aspects of an Architects’ job - Created a mock design proposal for their reception area and had to brief the practise managers with the reasoning behind my choices - Defended and promoted my ideas when in a critique
CONTENTS BRIEF 1 - SnoozeBox BRIEF 2 - Corporate Staircase BRIEF 3 - Sonic Sculpture
Personal
Digestion - SnoozeBox The first brief of Design Studio II. To design a portable hotel room within the footprint of an ISO shipping container, that will provide en-suite accommodation for a proposed function. The stakeholders for my design are terminally ill people. The shipping container is designed to contain the process a terminally ill client may want to experience in the comfort outside of modern day structures related to death, and end life by returning back to Earth naturally. The space will in effect, ‘digest’ the user. My design is environmentally aware and is giving back to nature, as all new architecture should do.
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MECHANICAL ARM SPECIFICATION Care is facilitated by a mechanical arm component, which is remote controlled to provide for the patient when incapable to look after themselves.
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SCALE 1:10
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SCALE 1:10 SCALE 1:50
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Corporate Staircase
[Also submitted to Ee Stairs Competition]
The second brief questions the common structural element, the staircase, which is taken for granted. However, by providing it with more than a standard function we could appreciate the overlooked element. Through this brief I had to combine alot more technical knowledge along with the design proposal, this includes a motorized winch and hydraulic pumps. which have been specified in drawings.
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Motorised winch segmented around the drum to facilitate the 15 seperate cables, one per step.
SCALE 1:10
LEFT: COMPRESSED
RIGHT: EXTENDED SCALE 1:10 DETAIL HYDRAULIC SECTION
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TOP VIEW EXPANDED
PLAN RETRACTED
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SCALE 1:20
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FAIRYTALES 2016 Submission feat. Staircase Written in collaboration with Liana Psarologaki Once upon a space lived Veligero, a creature that wished to become an Artist. It lived in a small self-contained hut on the edge of a settlement on the southern face of Haliotida. Only 4 years old in human age, It would crawl on sills and mantels to reach the highest height of wall surface and hang the doodles It patiently made in black ink. Although the most intelligent creature in the settlement, It was reminded daily that It was but a doodler. One may become an Artist only when trained, away from Haliotida, on the Isle of Caliper. This required the making of a very important decision, for a trained Artist could only be an Artist and nothing else and there were very few Artists who did not end up homeless beggars in Haliotida and beyond; that, Veligero knew very well. It was reminded every day. Veligero was the best at hide-n-seek in the settlement. It could camouflage so well, that when in disguise, It could pass almost for anybody and anything it wished for. It could fool the noble ones, the teachers, the doctors, the writers, even the children; all but one: Pallidus the Architect. Pallidus, believed to have built the settlement itself, including Veligero’s hut, would draw in a thousand different inks every day the elderly said. It lived in a monstrous hut of 7 storeys and was trained in Caliper but never became an Artist or beggar. Veligero imagined that Its doodles could secure a place in Caliper, if Pallidus was generous enough to give away some
of the precious ink. That thought was enough to make Veligero decide, there and then, to pay a visit to Pallidus. It would carry 10 transfer pipettes to fill Its doodling markers in with Pallidus’ ink. Pallidus’ hut proved almost impossible to penetrate. Although unguarded, every gate including the main entrance featured a high threshold so steep and slippery, that even Veligero’s youthful suckers would barely attach. After the 10th attempt, it was obvious: Veligero needed something witty and powerful to complete the mission. Carrying patiently back and forth the pipettes with no luck, It decided to go back to the doodling table. No hut was known to have a device to allow connection of rooms on different storeys and all creatures used their suckers to climb up and down in huts but now Veligero was convinced of what exactly was needed. It was the first time Veligero’s beautiful mind committed to working all night and on something so great; something that would not only allow entering Pallidus’ hut but could be used by any creature in Haliotida and beyond. In the morning, it was ready.
That day Veligero did not aim for Pallidus’ ink but instead sought to make something more than a doodle, even more than a drawing. Tiny Veligero spent a day in the surroundings of Pallidus’ hut, an erratic landscape of garbage, carefully collecting parts for his making, and assembling its device, testing its parts again and again. Three days later and a thousand fiascos after, it worked. Veligero gazed upon its creation with wonder. There it was: Bowmann’s Ear. Veligero’s drawings presented to the finest detail the design of a one-of-a-kind device that could connect two storeys vertically and could be used by one creature at a time. Using a combination of hydraulics, and a rack and pinion system to unfold and fold back, the device was powered by a drop of its user’s ink. The first ever such device made was given the name Bowmann’s Ear and was realised by Veligero itself, powered by its black ink which it proudly dripped into its motor through a tiny keyhole. A fearless Veligero hysterically tested Bowmann’s Ear numerous times, climbing up and down the outer walls of Pallidus’ hut on a gloomy evening and by the following dawn the device hung beautifully from the main gate like a vintage pendant, anticipating its master’s arrival. Not long after, Veligero activated Bowmann’s Ear and slipped in Pallidus’ hut smoothly only to confront an unexpected reality.
The main gate led to a maze of dark corridors with twists and turns and eventually the gallery of an atrium connecting all 7 storeys of the hut. To Veligero’s surprise, the upper mezzanine of the atrium featured a skylight and a dense grid of crystal basins. The shared lavatories –there were hundreds of them– connected to pipes that concluded in a giant crystal container. Veligero looked closer. Pallidus was at its study, drawing frantically. It was no taller than Veligero itself and its creased-fromage body was protected in an almost invisible bubble, leaving two arms out to allow drawing. The silence broke a sharp demanding voice: “My ink is over! Make me some more!... and it’s never black! I WANT BLACK INK!” The order was obeyed by a legion of little doodlers who entered in full assembly the upper mezzanine and hopped from one basin to the next, releasing ink in the most peculiar and rare shades and tones. The ink travelled through the pipes and poured into the container, quickly filling it up. Veligero realised that Pallidus kept an army of loyal ink-makers that did nothing but produced ink for its 1000 pens. It was clear that Pallidus was not at all happy that the ink was never genuinely black, with Its majestic and frantic drawings acquiring sometimes a sweet burgundy and sometimes a velvety blue tint. Mesmerised by the sublime view of the ink and the synchronised action of the doodlers,
Veligero for a second forgot all about the vision, mission, and Caliper. Only for a second, before a thought crossed its mind. Bowmann’s Ear was still hanging open from the threshold of the main gate. Veligero had to run. It put on its finest camouflage and –mimicking a pipe– scrolled down to reach the ink tank. Its arms were sweating and as It reached the tank lip, a pipette slipped and hit the mosaic of the basement floor, making a subtle noise that echoed gently on the hut’s walls and tank surface. Veligero sighed and continued moving around the tank opening, ready to attach inside, when Pallidus turned around to check the ink hue and saw Veligero. Who immediately lost all balance and camouflage and tried to attach firmly onto the walls of the tank, stretching and moving anxiously as Pallidus approached. The smell of the ink made Veligero dizzy and nauseous; it could barely hear what Pallidus was barking about whilst getting closer. Vertigo. Everything started spinning round in blurred motion; Pallidus, the tank, the oculus, the atrium. Splash, plop! Veligero fell in the tank and was now immersed in Pallidus ink, which became darker and darker. All doodlers stopped their work at once and Pallidus stared at its ink tank in bemusement. “Black… Ink! At last… It is black!” it mumbled and starting refilling its pens in rigour. Veligero literally dissolved in the ink of a thousand inks, dying it so black like no other in Haliotida and beyond. It was never trained in Caliper, nor did It become an Artist, but
Bowmann’s Ear would only accept a drop of Veligero Ink in its rusty cogwheels, to open and unfold. A thousand years later, each hut in Haliotida had a Bowmann’s Ear and to power it, the residents were supplied with a bottle of Veligero Ink every year on New Year’s Eve. The bottles were delivered by an old, slow moving Pallidus, who was freed from the constraints of Its hut for the first time after It managed to unfold the mystery device found hanging from the main gate threshold the very same day It got the black ink. It travelled the world, It taught in Caliper, and, treasuring the content of the crystal ink tank, trained the doodlers to produce a thousand bottles of its precious Veligero Ink every year. It knew that one day another even more curious Veligero would be found crawling around Its atrium looking for knowledge, skill, and ink and who knows what It would be able to design.
FIN
Sonic Sculpture My third brief, a 9 week project, asked for a site specific sound sculpture to be proposed in one of the venues at Snape Maltings, Suffolk. The premises is comprised of Grade II listed 19th Century industrial buildings on the edge of the Suffolk marshes. Since trading ceased in 1965, the complex was given new a new function as home of Aldeburgh Music. This project brought into perspective a variable within the environment which had not been dealt with such detail in previous briefs; sound. The invisibility of sound is the quality that ignited my concept for its connection to wind. The connection and process from invisible to visible.
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INITIAL CONCEPT IMAGE
INTERIOR MAPPING [CONCERT HALL]
EXTERIOR MAPPING [WIND]
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VERTICAL AXIS WIND TURBINE PROPOSAL
DATA INFORMANTS TO DESIGN
Since the mapping of wind was the basis of my concept and works on the specifity of the wind to that area in the UK. It would work well to incorporate the temporality of this form of energy to power the installation.
The data collected to form the basis of the wind template has been formed through a compilation of wind movements taken from a live feed over a two week period. Information available online at : http://earth.nullschool.net/
SCALE 1:400
TEMPLATE RAISED
TEMPLATE LOWERED
LOW LEVEL LIGHT EXPOSURE LOW VOLUME LOW INTENSITY
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HIGH LEVEL LIGHT EXPOSURE HIGH VOLUME HIGH NTENSITY
DESIGN PROGRESSION My concept would require an organic form to portray the ephermeral quality of wind as a sensitive light structure that would react to the sound produced inside the Concert Hall during perfomances. This in turn would aim to bridge the gap that is present between the audience and the sound and create a personal experience via the the visual realm of the audience. The sense of sight is one of the strongest senses in the body.
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SECTION BB
B
SCALE 1:200
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Base plate bracket Base plate
Light source LED panel Optic fibre attachment plate Optical fibres
U Bolt Wind pattern template machined cork board
Personal
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