INTERIOR DESIGN
PORTFOLIO
Esther Maganga
TABLE OF CONTENTS
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Centenary Building 3D Design Procedures and Practice
The Cliff Project Design and Materials
Urban House User Centred Design
Erasmus
Barcelona exchange programme
Tea House
Independent Research Project
Manga Hub
Negotiated Major Project
INTRODUCTION This portfolio contains a collection of my academic work from the University of Salford, when I was studying BA (Hons) Interior Design. The course was invaluable to me because I had the opportunity to learn a wide range of subject matters such as the fundamentals of design, which prepared me for professional practice. In this portfolio I have combined examples of work from my first, second and third year of university along with some examples of work from my Erasums exchange programme in Barcelona.
CENTENARY BUILDING 3D Design Procedures and Practice
Rationale: This project was to develop my understanding of design procedures and the basic framework used in the design process which is vitally important in ensuring that design solutions are both appropriate and viable. It also incresed my knowglede of how constraints such as inherent technological issues can be integrated within a creative design process. Task: As part of a team working on measurement of The Centenary Building, I was required to survey a specific area of the Centenary building and record measurements within sketch plans and sections. These drawing were then presented at A1 size and pinned-up on display along with a short client presentation. The client presentation included all of the information contained in my orthographic drawings and it was presented in a PDF format. Design Issues: Demonstrating an ability to communicate, present techniques appropriate to interior design, working with others and problem solving.
Location Plan @ 1:50
The Centenary Building is situated just off Peru Street right at the edge of the City of Manchester. The building consists of two separate glazed structures set as a frame to an informal galleried atrium.
Short section @ 1:50 Long section @ 1:50
THE CLIFF PROJECT Design and Materials
Aim: The aim of this project was to design a proposal, which makes site of the natural beauty accessible within the urban environment. This could potentially draw visitors closer to nature and provide opportunities to experience the wildlife. By improving the picturesque of the environment through functional and aesthetic designs could enable us to make responsible decisions that could be beneficial to local residents and visitors. Task: The first task of this project was to conduct an initial material research. I was assigned to a subject on the topic of New Materials. The second task was to design a series of seats, steps or lookout points that will give a impressive reflection to nature and provide opportunities for locals to engage with natrual inhabitants. Design: My initial material research focused on the specifications of New Materials during which I considered making my seat from Alphamesh, Dichrolam or Carbon Fibre. However, after careful consideration I came to the conclusion that the materials would not be suitable for the location. I needed to use materials that were durable to withstand harsh weathers and serve a verity of functions aesthetically. I visualized my model to be more appealing (like a sculpture) and functional (like a seat). So I opted for Weathering Steel and Teak (hardwood) as I found them more suitable for my seat. Weathering Steel is very strong steel mainly used for bridges, external fixtures in buildings, and sculptures. Teak on the other hand is a hardwood mainly used for furniture, boatbuilding and indoor flooring. The combination of these two materials seems perfect for my seat, hence, my choice. While designing my seat, Richard Serra crossed my mind as I could see characteristics of his work in mine. The design (which I called ‘Steel bench’) contains two high arc-shaped weathering steel joined together at the back [like :)(] and supported at the base with concrete floor. The Teak bench (also arc-shaped) fits in place easily and rests on two rods a few distances apart that are connected to the steel. The design will utilize about 85-90% steel, 7.5-10% wood, and 2.5-5% concrete.
Location: The Hive in the Cliff is located within 1 0f 2 oxbows of the River Irwell as it meanders through rural Salford. The area is well known locally as the landslide because of many landslides over the years. The last landslide was in 1927, when a large section of land subsided taking with it part of the main road that carried the tramlines.
A selection of photographs taken on site.
URBAN HOUSE User Centred Design
Aim: A place to live, work and play. The aim of this project was to design an Urban House for a young professional couple who are currently living in a loft apartment nearby, which they love but have grown out of. The couple purchased a distinctive building plot and wanted a bespoke home specifically designed to suit their needs. The client’s will both be working from home, so it was important for me to distinguish the difference between personal and public spaces and how they could co-exist within the house.
Location: The site is located in Deansgate Castlefield off Rochdale Canal behind Castle Street. There are two plots available both with pedestrian access from towpath PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT canal side and vehicular access from the railway arch.
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Task: My client’s admire the work of both architects and wanted me to interpret and apply architectural principles from Le Corbusier and Frank Lloyd Wright when designing Urban House. My initial research focused on a report investigating Le Corbusier and Frank Lloyd Wright, with specific reference to Shodhan House and Fallingwater.
External elevation
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URBAN HOUSE PLAN
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ERASMUS Detail Construction
The aim of this project was to develop my skills and understanding of detail construction. As part of a team working on measuring benches, I was require to measure two benches and draw a series of assembly drawings representing how the components fit together. The project was beneficial to me because I was able to develop my AutoCad skills further and understand a lot more about detail construction.
ERASMUS Detail Construction
This project is a continuation of the Urban House project that I designed in my first year of university. I was required to create a 3D representation of the kitchen floor plan using AutoCAD and render it using 3DS Max Design. I was very excited about this project because it gave me the opportunity to learn more about kitchen design and enabled me to showcase what I had learned over the years in university.
ERASMUS Ceramics
Pottery is a method of forming a ceramic body (often from clay) into objects of a required shape and heating them to high temperatures in a kiln. The kiln removes all the water from the clay and induces reactions that lead to permanent changes in the clay, such as hardening and setting the shape.
Figure 1
Process: The clay body can be decorated before or after firing in the kiln. However, before I could use the clay in my project, it was essential for me to prepare the clay. I did this by kneading the clay body, which helped to ensure even moisture content throughout the body. This was a very important step in preparing the clay because if air got trapped within the clay body it could run the risk of exploding in the kiln and my work would be ruined. The process is called de-airing and can be accomplished either by a machine called a vacuum pug or manually by wedging. Figure 1 is an electric-powered potter’s wheel that I used to form the bowl. Figure 2 is the finished clay bowl, which was left out to dry overnight before firing. Figure 3 is the fired bowl after it had been in the Raku Kiln. As you can see it is burned at the bottom because there was a high concentration of heat at the bottom of the bowl when firing, which resulted in a chemical reaction with the glazing. Figure 4 is the ceramics studio where we form the clay body. Figure 5 shows my peers removing red hot clay from the kiln and implementing the Raku process to smoke the clay. Raku is an American/Western process in which work is removed from the kiln at bright red heat and subjected to post firing by placing containers of combustible materials for example sawdust. Figure 6 is the Raku Kiln used to fire ceramics.
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Figure 6
ERASMUS Printmaking
Lithography is a method of etching into stone with the principle that oil and water do not mix. The images are usually drawn with ink or wax onto the surface of a smooth level lithographic limestone. The limestone is then treated with a mixture of gum arabic and nitric acid, creating water receptive non-printing areas and greased receptive image areas. The surface of the stone is always kept wet so that a roller charged with oil-based ink can roll over the surface and only stick to the greased receptive image areas. Paper is then placed against the surface of the limestone and the limestone is run though a press to produce the print. Process: There is a range of materials that can be used to draw and paint onto the surface of a limestone. I used lithographic crayons, which contain grease that is absorbed into the surface of the limestone. When I finished the drawing, I dusted the surface of the stone with French chalk to protect it during processing. I then applied a mixture of gum arabic and nitric to the limestone, so that the greasy image areas become water repellent and the non-image areas become water receptive. This process is usually done twice and left to dry overnight to allow time for the gum arabic to chemically change the limestone and set the image within the limestone. Once the limestone was dry it was ready for printing. Firstly, the limestone was placed onto a special printing press and colour was rolled on with a rubber roller. Using both hands I placed the paper on top of the limestone for printing. The first few prints were done on newspaper to test the quality of the print, after that damp paper was used to ensure a maximum amount of detail was pickup from the limestone. I found this unit very therapeutic and if I had the opportunity to work in this medium again, I would experiment with a variety of colours and also how I could use this method to present my designs in the real World.
TEA HOUSE Independent Research Project
Task: The independent research project was a chance for me to investigate a subject matter of my own choice around contemporary debates in Art and Design. I chose a subject that I was very passionate about and wanted to investigate in detail. My initial research focused on a dissertation titled “How is Traditional Japanese Architecture represented within the Anime and Manga Universe”. The dissertation covered subject matters such as, Traditional Japanese Architecture, Culture and Art forms, Architectural representation and Cultural references. Design: In traditional Japanese architecture the idea of framing a landscape as a picture is very important, especially in tea houses, where one can drink tea and meditate while enjoying the scenery. Unlike traditional Japanese architecture that control exterior views, I wanted to capture views that are well adapted to the changing environment, allowing guests with the freedom to select 360° views. The Teahouse follows the Japanese tradition of minimizing space and is intended as a place to meet with guests for a cup of tea. I am very interested in the theme of it being a place to gather with friends and family. From the exterior, an inconspicuous structure is ready to surprise it’s visitors upon arriving inside, giving them a different perspective of the garden. When first reasoning about such a place, I thought of the shoji and came to the decision of designing it on a rectangular platform enclosed by double glazed glass panels. This double glazed facade serves as an environmental barrier from harsh weather and hot summers. I have completely broken away from the concept of the sliding door, so there are more levels of perception of nearby landscape. The teahouse is designed to become a natural part of the landscape as the glass walls disappear into the grassy surroundings.
MANGA HUB Negotiated Major Project
Aim: Manga is a huge and rewarding business and is considered one of the most important Japanese cultural exports to the world today. Just like anime, manga is loved by all kinds of people regardless of age, gender, occupation and social class. My aim for this project was to promote Japanese manga to all age groups by creating a pop-up gallery that is multifunctional and aesthetically pleasing to benefit the community. Design: My initial research focused on shipping containers and competitors within Manchester and other neighboring cities. My concept for this project was to create a pop-up art gallery dedicated to the artistry of Manga, which would draw local and international visitors. After careful consideration in my design process, I decided to use shipping containers as the base for my art gallery. What appealed to me the most when design my art gallery, was the fact that I could easily transport the shipping containers anywhere, it was also 80% cheaper than a traditional retail store and I could test the market without setting down any permanent roots.
A typical ISO shipping container is made from ‘weathering steel’, which is commonly known as ‘col-ten’ steel. Col-ten steel is corrosion resistant steel that is used within many industries where exposed steel sections are necessary such as building panels, facades and sculptures. The art gallery consists of four shipping containers joined together to form the fundamental structure. The ground floor has a photography booth, shop with a dedicated area for manga books and a gallery on the right hand side. The first floor has a balcony that has a great view of the surrounding city, as you enter the gallery in the shipping container in contain a workshop/meeting room that is accessible to the public.