UNIVERSITY FOR THE CREATIVE ARTS CANTERBURY SCHOOL OF ARCHITECTURE BA (HONS) INTERIOR ARCHITECTURE AND DESIGN 2012-13
The year 2012-13 has been memorable for our BA (Hons) Interior Architecture and Design course at Canterbury, which has significantly evolved in its academic nature and direction. This catalogue provides evidence of the range of work that students have produced, demonstrating what we hope the course will become well known for: creative design practice that is rigorous, ambitious, critical and interdisciplinary. The high level of commitment and dedicated efforts from students and staff have resulted in a number of remarkable achievements: Stage 1 students have shown encouraging potential throughout the year, as evidenced by the good results obtained in an internal drawing competition; Stage 2 students had their ‘Inhabitable Objects’ exhibited at Canterbury Cathedral and published in the Architects’ Journal; and four of the twelve nationwide finalists in the prestigious Janine Stone Young Interior Designer Award 2013 were our Stage 3 students, winning both the first prize and the runner’s up prize. These successes reflect very well the quality of work we are aiming for, showing an exciting new direction for the course and a promising professional future for our students. Lara Rettondini
IAD STAGE 1
In the first year of our BA (Hons) Interior Architecture and Design course, Stage One students are introduced to some fundamental skills, processes and issues that are relevant throughout their studies. There are two studio projects in the first term focusing on design in relation to the human body. The first one, Bodyscape A, introduces ways of understanding the relationships between the human body and the built environment. The project ultimately involved the design of a piece of full-scale wearable architecture influenced by site and body, which the students tested in Canterbury city centre. The second project, Bodyscape B, focuses on the design of a small intervention to be inserted in the context of the Canterbury Cathedral precincts. The students were required to design a device, which by capturing a single quality of Canterbury Cathedral’s fabric, would make it more enjoyable for a single visitor to experience. The main studio project in term two is Synoptic, which focuses the students’ attention on the relationships between architectural space, time and programme. This year we concentrated on the adaptive reuse of a small building, which will provide hospitality for a contemporary pilgrim visiting Canterbury. Students were encouraged to consider the activities of users, as a way of programming, sequencing and designing a small building. Rob Nice
IAD STAGE 1
Waters / Shahi / Sujani / Van Rooyen
Bailey / Abdullai / Ajani / Al-Radaideh / Bridi
Richmond / Panopoulou / Robinson / Richards
IAD STAGE 1
Xinzhou Jiang
IAD STAGE 1
Ben Ravensdale
Ben Ravensdale
Eleanor Musgrove
IAD STAGE 1
Molly Walden
IAD STAGE 2
The Stage Two studio focuses on critical investigations into the relationship with the existing. Dividing the year into two phases, we started with the collaborative design and construction of 1:1 prototypes inspired by a methodical analysis of the cloister of Canterbury Cathedral. Our students developed a series of ‘Inhabitable Objects’ aimed at enhancing and appreciating the particular architectural qualities of the cloister such as geometry, structure and viewing. The fabricated prototypes were installed in the cloister in a highly successful event where the public and the Cathedral specialist stonemasons were encouraged to interact with the ‘Inhabitable Objects’ enjoying the space in unexpected ways. In the second phase, students worked individually to develop a complex spatial proposition within the modernist context of Crescent House, Golden Lane Estate, in the City of London. The aim was to design a transformable interior able to respond to the programmatic changes of an artist in-residence studio and exhibition space. The students developed design strategies that made efficient and intelligent use of the restricted dimensions of the site to accommodate changeable patterns of use not only from one residency to the next but also on a day-to-day basis. Thus they created dynamic interiors suitable for exhibiting, working and living. Ersi Ioannidou
IAD STAGE 2
Jade Atkin-Marshall
Matthew Brookes
Afriye / Baston / Goute / McAdam / St Diamond
IAD STAGE 2
Olivia Scrine
Dmitrijs Gusevs
Susan McAdam
IAD STAGE 2
Samantha Li
Hannah Parfitt
Josephine Baston
IAD STAGE 2
Louise Freeman
Stylianos Styllas
Sophie Wilson
IAD STAGE 3
For their Major Project, Stage Three students were asked to develop proposals for a cross-programmed interior space that we referred to as the ‘Creative Hub’. Whilst there are often clearly defined territories and programmes in typical interior design projects, there are many cases where a given space or zone within a building acts as a hub for multiple programmes. The purpose of programming spaces is usually to edit function and human activity and through their proposals the students investigated the unique manner in which human inhabitation is manifested in a particular site. The site we chose is in the heart of the City of London, located at 36 Queen Street. It is an existing building (now being refurbished) designed by Terry Farrell Partnership and constructed during the mid-1980s. The brief required that the Creative Hub – the main crossprogrammed space – had to allow for a minimum of two programmes to co-exist. Programme 1 was defined by the brief, and had to provide facilities for a community or communities already traditionally active in the City of London. Programme 2 was for the students to determine, and had to service a community that is not so embedded in the City but may pass through or have a presence in the surrounding areas of London. The students considered a range of typical interior programmes in the development of their own agendas for design and design research within this context, which led to a complex design proposal that carefully examined the relationship between different (but not in all cases separate) programmes. Paul Gulati
IAD STAGE 3
ALEXIA TIBERI PASQUALONI email: alexioscia@msn.com website: www.i-m.co/Alexiatiberi4/alexiatiberip
Thinking of redeveloping 36 Queen Street as a way to change the character of the building and the surroundings, together with its structure and its people. A new ‘face’ in an already well-known office area. A combination of 3 communities will bring the space alive. A building to enjoy art and performance but with a new interesting feature for all to discover when walking through the spaces. People go from being the visitors, the audience, to becoming performers themselves, moving and creating a unique ambience thanks to the way they interact with the built environment designed to be modified in time by them directly.
IAD STAGE 3
ANDY LIGHTON email: andylighton1990@gmail.com website: www.focusedprocrastination.sqsp.com
‘The Facility’ is a project looking at the idea of hiding a building within an existing structure. The initial concept came from looking at the City of London and the numerous conspiracies connected with the area - those conspiracies relating to mass control of the public. The building’s intention is to indoctrinate free thinking people into becoming ‘model citizens’. The project examines the relationship between public and private spaces inside a structure by utilising dead spaces located in and around the building, thus creating unseen dimensions within a public realm.
5
4
3
2 6
7
1
IAD STAGE 3
ASIYE YALCIN email: asiye_yalcin23@hotmail.com website: www.asiyeyalcin23.wix.com/asiyeyalcin
36 Queen Street, located in the City of London, has been appointed to be refurbished. The two floors I have used in the building, basement and ground floor, will bring different programmes together. The key design element is made out of laminated birch plywood and the hexagonal shelving in the bar area is made out of copper. The bar table is finished with a thick copper plate while restaurant area is in the front of the bar with plywood structures. Solid copper elements with birch plywood elements give a warm welcome to the visitors in the restaurant and bar area.
IAD STAGE 3
AYSE GUNER email: ayse_92@hotmail.co.uk website: www.ayse92.wix.com/ayseguner
36 Queen Street is an office building where the ground and basement will be used for retail or other programmes. The two floors I have used in the building (basement and ground floor) will bring together two programmes. The prefabricated steel structure coated using rubber will be the main element of the building. The two programmes (Wine & Dine restaurant on the ground floor and a wine school in the basement) will be linked using a curved staircase structure. This is a continuous structure that starts from the ground floor as tables and ends in the basement as a staircase.
IAD STAGE 3
BECKY WHITE email: rebecca@rebeccawhite.co.uk website: www.rebeccawhite.co.uk
36 Queen Street is both a Livery Hall and Tenant Hall – a temporal space that shifts between three configurations to suit the needs of two contrasting inhabitants. The transformable interior imitates social structures characteristic of both communities, creating two diverse environments. One of richness and grandeur for the banquets of the Livery Companies of the City of London and (upon rotation of the double faced panels) an egalitarian, white canvas is revealed for the exhibitions of the tenants of post war housing estates in London. However, both are connected through usage of the Hall, each attempting to preserve their heritage.
IAD STAGE 3
BEN GOODEY email: bengoodeydesign@gmail.com website: www.bengoodeydesign.wix.com/bgdesign
I have created a recreational facility that encourages healthy living and healthy eating. With cycling being one of the most popular means of transport in central London, the project focuses on cyclists and sports/fitness fanatics alike. Areas within the building offer sports nutritionists space to work and practice. The two communities work and train side by side in a cross-programmed atmosphere.
IAD STAGE 3
EDELQUINE NJOROGE email: edelquine.n@hotmail.co.uk website: www.edelnjoroge.tumblr.com
The space is designed to run under a membership scheme, with different membership deals, which come with Wi-Fi and complementary equipment such as white boards and other presentation equipment. Community 1 is the creative city workers and businesses who use the spaces for meetings and presentations. There are also pod desks available for hire with screens to make presentations to clients instead of hiring a whole room. Community 2 is the dance school that also uses the rooms for theory classes and the pods for group work as well as the studio for practical work.
IAD STAGE 3
HELENE FORRESTER-WOOD email: helene@forresterwooddesign.co.uk website: www.forresterwooddesign.co.uk
This project exposes the activities that some bankers get up to in their private time, such as the use of drugs and prostitutes. This dynamic relationship between bankers and sex workers informs the design of a structure that will display the sex workers as commodities for the bankers to purchase. The sex industry and trafficking is a social issue, but I wanted a concept that would look at it from the angle that if you can’t fight them then join them, thus taking a more satirical look at bankers’ attitudes towards women and excess.
+
=
IAD STAGE 3
JACK CALVO email: jackcalvo1991@hotmail.co.uk website: www.jcalvo.carbonmade.com
“So how do you feel about that ...?” is a project to design a co-inhabited space for financial office workers and therapy and rehabilitation patients. I came to these communities through research that led me to the cocaine scandal in the City. As I joined the two communities, I developed the concept of ‘tension architecture’ to explore the potential tension between rehabilitation patients and financial workers. This was developed into three tension products, between mutual spaces, lighting and private accommodation for overnight patients.
C
B
B
A
A
C
IAD STAGE 3
MARCO RUFFONI email: marco_in_the_middle@hotmail.com website: www.marcoangeloruffoni.carbonmade.com
Both business people and cyclists have certain needs for their day-to-day lives. Some things in particular can become obsessive and fetishistic, for example how a businesswoman may style her hair in the morning or how highly polished a businessman may want his shoes to be. This project is about maintaining image, lifestyle and equipment required for being a success in the capital. The programmes have been selected in order to enable these communities to run smoothly. These programmes are: dry cleaners, cobblers, barber and hair salon, wash rooms, bike workshop, bike wash and oiling station, cafĂŠ bar and a shop selling cycling accessories.
IAD STAGE 3
MARKOS LINGAL email: markos_dragonos@hotmail.com website: www.i-m.co/dragonos/Markos1
I designed a bicycle parking point that will be part of a historical bicycle museum. It will provide a place for people who cycle through the city or even work within the area, a place to park. Its main attraction will be a bicycle museum for tourists to come and visit, as well as a cafĂŠ and garden situated at the top of the building. I wanted to pay closer attention to making the building more personal and considering the building as a relaxation point in contrast to the industrialised financial area it happens to be surrounded by.
IAD STAGE 3
MAX THOMSON email: max.thomson90@gmail.com website: www.maxthomson90.wix.com/maxthomson
My project combines a workshop and fueling station for cyclists by day, with a unique theatre venue for employees of the City of London and as a destination for those with a theatrical interest. Not only will they be absorbed in the performance from the actors, but also the display of examples of bicycles individually showcased on the ground floor, plus a collection of cycles lofted into the ceiling for showcasing and storage when the space is functioning as a theatre.
IAD STAGE 3
MIKE LAU email: mike_lau912@hotmail.com website: www.mclau08.com
‘Herbal Remedies’ is a project based on two separate communities: gardeners and therapists that programmatically occupy the same space in a building and operate at the same time. The programmes combine relaxation space, meditation space and a herbal tea cafĂŠ with professional advisers giving stress relief advice. The concept is to cultivate herbs in the space whilst also storing them for use in the herbal teas with their presence also creating a different atmosphere and cleaner air. The design focus within the creative hub, therefore, is on elements that allow both communities to co-exist in the same space.
IAD STAGE 3
ROANNA THETFORD email: roanna.thetford@btinternet.com website: www.roannathetford.carbonmade.com
This project comprises of the cross programming of two financially disparate London-based communities and the ordering of a hierarchical relationship between them that is dictated to by the concept of who is viewing whom. The immediate juxtaposition of extreme affluence with that of extreme poverty remains a consistent characteristic of the capital’s urban fabric and the instance remains of a small minority having power over the majority. Here this is subverted and in the proposal the normally disenfranchised majority (the viewers) achieve dominance over the minority (the viewed).
IAD STAGE 3
SAM CUNNINGHAM email: sfcinteriorarchitect@yahoo.co.uk website: www.scunningham1990.wix.com/sfc-
The Creative Hub of ancient artefacts interspersed with modern products is designed to be used by the already traditionally active community of the Worshipful Company of Skinners and also for a community from the nearby Shoreditch area of London, the London College of Fashion. The creative hub will accommodate episodic changes of programme. Seasonal fashion shows will take place amongst permanent displays of seasonal retail goods and the museum items that describe the history of the Skinners Livery Company.
IAD STAGE 3
SIMONA IVANOVA email: cmona.ivanova@gmail.com website: www.simonesspace.co.uk
The Creative Hub is a cross- programmed space for two different communities to collaborate. The key element of my project is a wine shelf, stacked with bottles, which are produced by the members of the Livery Companies in London. The structure runs through two floors, connecting two different worlds. One, the UK wine lovers who will be costumers to the store, potentially meeting other people with the same passion for wine. The other, the world of single people looking for love, who in turn will become customers to the store by drinking the UK’s special wine whilst dating.
IAD STAGE 3
SINEM YILMAZ email: sinem_maz@hotmail.com website: www.sinem-maz.wix.com/sinem-yilmaz
The existing building is located in 36 Queen Street, in the City of London. There are numerous places of work such as banks and offices in the area. The purpose of the project is to combine dancers and office workers with yoga and Pilates. The walls are constructed from translucent materials to provide privacy to people while they take part in classes. In the studio, this project will integrate two communities (dancers and workers) where workers can also visit the area. Office workers can take part in activities such as yoga. There also cafĂŠs available for both communities. Both groups can arrange meetings in the office area to discuss events and other community activities.
IAD STAGE 3
SOO LAI email: slai.studioid@gmail.com website: slai.studioid@gmail.com
This is a Creative Hub that is specially designed as a fish market, meeting space and sushi bar. Conceptually based upon transparency and movement, the architectural elements help to define the space. The transparent element represents the ‘open’ working relationship between the City philanthropists and the fishmongers. The movement element represents the bustling activities located in the fish market. The idea of movement is sought through the implementation of a radical organisation of space.
IAD STAGE 3
SUZANNA MILLINGTON email: smdesigner@icloud.com website: www.suzannamillington.co.uk
A marketplace for financial workers to browse and eat, acting as an opponent of soul-less corporate chains. The roof is transformed into an allotment so that the finest quality ingredients can be obtained at source. The marketplace houses a variety of vendors, selling local produce. The current facade windows will be replaced with pivoting doors, that open out onto the street, making the outdoors meet the indoors, seamlessly. The ground floor space will be fully flexible and versatile, thanks to the grid intervention of sliding and folding doors. The space is fully adaptable, meaning it can be made smaller on less busy market days, or completely opened up for a private hire function or gallery space.
Head of School Allan Atlee Course Leader Lara Rettondini Teaching Staff Tessa Baird Simon Bliss Hocine Bougdah John Joe Brophy Ruth Cuenca Zoe Fudge Paul Gulati Tabatha Harris-Mills Ersi Ioannidou Lucy Jones Zoe Jones Rob Nice Clare Moore Vasiles Polydorou Kirsty Sutherland Administration Judi Batten Tracie Money Andrew Varley Support Services Linda Griffiths Richenda Gwilt Elaine Hatfield Megan Kinnear Rose-Maire Macartney Tanya Perkins Technicians Alex Cook Chris Settle Ben Westacot Catalogue Graphic Design Andy Lighton
Guests and Critics Madeleine Adams Sarah Bagner John Bell Oscar Brito Christopher Cockrell Pereen D’Avoine Oliver-Froome Lewis Robert Knight Kristina Kotov Jason Holley Ketan Lad Yanki Lee Giulia Leoni Richard McConkey Stephen McGrath Ivor McNamara Troy McNamara Simon Miller Heather Newton Laurence Osborne Andrew Ramsay Greg Ross Julian Seagars Caroline Smith Gabor Stark Sophie Steed James Wakeford Alec Wilson Tina Zacharia Paolo Zaide Special Thanks Canterbury Cathedral staff Chromos Exhibit Mitie Omicron Oxfam Bookshop Canterbury UCA Canterbury Caretakers team UCA Canterbury Library team UCA Canterbury Workshop team UCA Print Bureau team
University for the Creative Arts Canterbury School of Architecture New Dover Road Canterbury, Kent CT1 3AN www.ucreative.ac.uk www.cantarch.org