Jack Oliver pETCH. Architecture Portfolio jackoliverpetch@gmail.com jackoliverpetch.com (+44) 7845666814
contents. project 1: preservation kunming.
Yunnan Province, China. University of Huddersfield. 3rd year final project project length: 5 months
project 2: 1914
Huddersfield Town centre, West Yorkshire. University of Huddersfield. 3rd year project project length: 4 months
project 3: holmfirth art centre
Holmfirth, West Yorkshire. University of Huddersfield. 2rd year final project, project length: 4 months
project 4: paddington place Paddington, London. JTP. professional practice project, project length: 5 days.
project 5: lewisham exchange
Yunnan Province, China. University of Huddersfield. 3rd year final project project length: ongoing, independent tube study 1 week
references: yun gao: university of hudersfield. y.gao@hud.ac.uk
dominic chapman: jtp, london. dc@jtp.co.uk
Left to Right: Sketching and traveling; 500 Words of Design Pavilion; Presenting at Preston Design Charette; University trip to China and Hong Kong; 500 Words installations; Generation UK-India with the British Council, Working in London, Winning RIBA Yorkshire Silver Medal Student award.
Preservation, Kunming. yUNNAN PROVINCE. academic project. Individual with urban group study. UNIVERSITY OF HUDDERSFIELD, june 2015. yun gao - y.gao@hud.ac.uk all work authors own unless stated. My intervention is based on the Confucius Temple site is a preservation museum combined with a music school and auditorium. Positioned between ruins of the old temple, the site used to be an area of mass use and acknowledgement with Kunming Residents. However, today, I would ask if the rapid developments and the expansion of the town’s boarders has caused the grounding of real history is being erased. It questions if tangible and physical artefacts, buildings and culture are removed without sentimental attachment, then the real understanding of the past may become lost forever. This project went on to win RIBA Yorkshire’s Silver award for Part I projects.
model of final scheme, right authors own.
Part of the ‘International’ portion of my undergraduate degree, the three-week included working with the university students on designs and detailed analysis on the culture, operation and environment of specific sites in the city. Working in small groups, the final work was presented in a professionally printed book that was designed using my templates. Kunming is a medium-sized city in China’s South West Yunnan Province. Dubbed the ‘Spring City’, it features a warm climate all year round. Through researching the travel routes of early travellers, our urban study discovered the development of the city and the diverse range of ethnic cultures here. Confucian Temple was originally a key part of the urban fabric of Kunming. The central nucleus of the city’s inner walls, it now sits unconnected from the Old Towns surrounded by residential development. An Island of calm inside a bustling city.
image from google earth
concept. The urban study based the core part of the development of the project, and created the core principles of the design on preservation. This was developed through researching Confucian ideals and trying to integrate them with a design brief. In the intervention, I consciously chose to leave the existing garden and broken temple intact to preserve the use of the residents on the site, focusing my attention to the exposed archaeology behind. This move was to join both tourism and existing residents. In tandem to the design development, I researched into Concrete and the different way that the material had been used, formed and shaped. These four experiments into surface relief was a core concept - a Concrete box for artefacts and memories to be cast inside. The four experiments were dubbed: Pattern, cast over a lazer-cut motif; Grain, cast on an open Log; Dye, cast adding food dye and shards of glass; Crown, burnt on an open flame to create a charred relief.
The entire journey of the building is intended to bring viewers to learn more about the past and preservation, before facing the new ‘Old Town’ developments, questioning what action is necessary. Crossing over the exposed archaeology, the bridge guides you down into the past or across to the informal garden behind. The museum is a series of raised rooms which each relate to different areas of Kunmings development, ending in crossing over the old walls of the other archaeology plot and turning to face the music performance of today. After a performance, the visitor is guided across a wall of discarded items and up to a large staircase to celibate the music school and back-of-house areas for the auditorium.
spaces 6 Auditorium clad in existing blue fencing on site 7 Music School 8 Open-air contemplation level. 9 Exposed Archaeology + Garden
1 Entrance space / Reception. 2 Museum; early kunming; urbanisation; city expansion 3 Staircase 4 Entrance to Auditorium 5 Auditorium back of house.
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Entrance from old Temple Wall Exposed Archaeology Access to underground museum Stairway-Ramp Open-air pavilion with shutters. Entrance to Auditorium Concrete ramp Auditorium + Stage Wall of discarded objects Back of stage Toilets
12 Lift / Stairway 13 Formal Garden Space: created inside archaeology walls 14 Covered pavilions for contemplation.
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lower ground 1 Exposed Archeology 2 Entrance space / Reception. 3 Museum; early kunming; urbanisation; city expansion 4 Staircase + Lift
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Entrance to Auditorium Concrete ramp. Auditorium Back of House + Toilets Wall of discarded objects
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first floor 10 Open air space with closable external shutters 11 Staircase/Seating 12 Music School 13 Practice Rooms 14 Changing rooms
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preservation of the past. Comprised of four spaces for different times in Kunming’s development, the exhibition is derived from the Confucian proverb to ‘show’ over ‘tell’. Memories & artefacts are categorised and impressed into concrete for the viewer for the foreseeable future. Beginning with the early developments of Kunming,
categorising the expansion from interventions to the western influence of
town’s Swiss mass today.
This space acts as a comment on the drastic, rapid developments reshaping the city; casting memories in concrete makes the past harder to erase.
preservation and reflection. In the scheme there are key spaces designed to preserve the existing occupancy. Used predominantly by the elderly population of the surrounding area, pockets of space were constantly in use across times of day.
The external balcony as the last part of the journey is paired with Poetry and Reflection. Focused towards the Old Town developments, shading Bamboo screens guide users across different seating areas to reflect and meditate their thoughts.
preservation of occupancy. The site was used by the residents of the surrounding areas, which we witnessed and interviewed. Listening to the residents express fear for new developments focused the proposal to protect & introduce their spaces.
The bamboo screens are to protect elderly visitors from playing games in the sunlight, Tai-Chi or music. The rear garden space is for parents and children to explore.
preservation through music. Emerging from the lower levels, the auditorium works with the music school and existing school children from the dance school to collect, teach and preform ancient musical traditions to contemporary audiences.
With an existing school on site, and a strong connection with music, the connection between past, present and future all can be tied together with the visitor’s experience through the scheme’s open, varied spaces.
Exploded structural strategy;: Load-bearing elements in Red, cladding in Blue.
observation deck : bamboo in lattice metal support clamp.
metal support shoe. concrete deck.
interlocking concrete blocks. metal reinforcement rod. aluminium frame. glazing units at standard sizes. bespoke concrete fittings; reception desk.
pinning blocks back into the main structure. concrete slab.
in-situ boarded concrete walls. bamboo shutters. concrete exhibition wall. concrete bridge at 1:12 gradient.
Materiality Diagram: Scheme tectonics and material textures.
Solar-shading device: Corrugated blue Steel interlocking concrete blocks. Composite Panel.
arrival to a night performance. authors own.
1914.
huddersfield town centre, west Yorkshire academic project. Individual project. UNIVERSITY OF HUDDERSFIELD, November 2014. john bush - j.bush@hud.ac.uk Located in the town centre of Huddersfield, this intervention is into the amount of British Involvement in Warfare since 1914, spanning over 100 years, two world wars and countless interventions in foreign affairs. War loom over every town’s heads. Huddersfield, however, has a different story. Inspired by researching into Huddersfield’s history with the Conscientious Objector movement, this statement design is placed to contrast and clash with the town’s vernacular. Based on the Vorticist manta of intensity at the centre, this design is a synthesis of design thinking and technical design. This project was a series of hanging bells each correlating to the amount of British warfare. The more intensive involvement, the higher ‘pitch’. Each arch signifies a decade, with 100 bells showcasing 100 years. Huddersfield’s building fabric exists inside a large ring-road, with all the proposal sites existing inside. The train station has a long history of being the focal point of the town. As an arrival point for both new visitors to the town, and historically, the design needed to be both interactive and passive. Be accessible to those in a hurry but engaging to any new explorers of town.
map of huddersfield, right. Axo view of final scheme, far right. authors own.
Researching different ways of interpreting the title included studying the Vortisist movement and the key aspects of the intensity of the piece needed at a central point with chaos as a surrounding element. A catalyst for my design thinking, I began to experiment with different events and uses for the 1914 project, using magazine covers and paintings as concepts. In my final design, the bells act as the chaos surrounding the event. This project was a different challenge, working in theory as well as taking inspiration from the local surroundings. The idea for vertical elements was taken from Huddersfield’s industrial past. The height of the bells responds to the amount of British involvement in warfare since 1914.
Whilst the scheme is almost entirely conceptual it gave the opportunity to marry theory, model making and push my visualisation methods to aid representing the entire concept. The central seating space reflects the Vorticist ‘intensity at the centre’ with the hanging bells towering overhead as a
symbol of chaos in warfare. These changed drastically as my design ideas were pushed into different directions by research into the time period. Furthermore, the idea for the design in section was to work with the site’s sloping levels. If Britain doesn’t decrease their involvement, visitors won’t be able to walk under.
conceptual view from train station. authors own.
In addition to the main event, the proposal was to create smaller installations in key locations, both around Huddersfield’s town centre and at a prominent landmark; Castle Hill. These are more interactive structures, that can be hit, shook and rattled with hanging metal tubes. By using scaffolding and small different-sized tubes of metal, this would be a temporary feature to help spread word about the main event outside the bus station. The three different designs each abstract the concept in a different form. A tunnel of music at St. Peter’s Park (Shown in the right image); Pan-pipes that create music with the wind; and a collaborative concept for another proposal in Sam Eadington’s ‘Concrete Walls’ which hang over the major pathways to and from the Bus Station (Shown in the image bottom left). To represent these temporary structures I used collage images of the locations, watercolour brushes and a graphics tablet. These were all created in Photoshop, drawing sketches directly onto images and refining them through layering lines and smoothing-out curves.
1914 - 1918
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baseplate + drain
The arches are two metal box trusses with the bells hung from plates, creating compression to keep the structure stable. This lightweight method of spanning distance was chosen to preserve the effect of the suspended bells seemingly floating above the visitors underneath. The cladding of coreten steel, bolted into the frame, was chosen to giving information to the viewer in a striking way, but also to rust over time and create a graduated appearance, emphasising the passing of time. Transforming appearances between day and night, Huddersfield’s town centre is one of change, both between day and night and between times of the year. In the day, the open structure allows users to walk underneath, to explore and understand the meaning. Then, at night, the structure would emits light across the square and onto the buildings which surround it. These changeable lights would be created by circular, programmable LEDs. By choosing which of the lights to glow (or all, to create white) the entire spectrum is available for different events in the life of the town. Key times of the town’s calender could be co-ordinated around the space, but also ties into Huddersfield’s annual Festival of Lights which occupies the site in November.
holmfirth art centre.
hOLMFIRTH, WEST YORKSHIRE professional project. group project with individual study. UNIVERSITY OF HUDDERSFIELD, june 2015. CARL MEDDINGS - C.MEDDINGS@HUD.AC.UK Situated in Holmfirth Town centre, this proposal for an Exhibition space and collection of Artist Studios was a way for residents to rent, display and create spaces for art. Placed along the river’s edge, the project is an attempt to generate a collective community of studios. This design was conceived after a long process of urban analysis and ‘master-plan’ schemes. Working with other members of the course this project exists inside of the collaborative vision to change and revitalise Holmfirth’s town centre, brand, and future industries. The main ‘focal point’ building includes a small exhibition space, Café and reception areas, acting as a central node to the repeating rhythm of studio cabins. This project involved interior and exterior design, looked into a technical resolution of passivhaus construction, and involved a costing and planning application module. This project went on to win the second year price from the University of Huddersfield.
photo-montage of studios, top; internal space collage, bottom. authors own.
We were given the opportunity from the Urban study and report back to have discussions with Holmfirth Residents on the problems they wanted resolved. Part of the development process included sending questionnaires to Artists to find out what they wanted in an Art Studio. The information received greatly impacted the form and schedule of my design. Holmfirth currently has a lack of places in the town centre to incorporate and draw in a younger age and students move away to different towns and cities to study and create. The decline in Holmfirth’s tourism means the town needs an intervention to rejuvenate the town centre and villages in the Holme valley. No one, single, building can solve every problem, but the group project listed proposals for the town centre. One was a multi-functional space with the different zones of the building to entice visitors to try new activities and form collaboration, which became the core ideals for my developed project. Reporting back to the residents greatly changed the initial design of my scheme, which was originally one larger space became broken up into a series of smaller cabins.
The central movement space inside is designed to solve the current issue of access into the site - which features a Cricket Pitch and Green Space. This was brought up in the Site Analysis in the Urban Study. The existing site was not only bocked off, but featured a fall of a story, and uneven levelling and was hard to access from the town centre. The Exhibition building proposal ‘slots’ into the land, and creates a more deliberate fall to unify the level of the river walk. However, preserving the main point of access allows the ability for cars and deliveries to service the building and allows room for crowds to access the green space with Holmfirth’s many town festivals. As a mix of industrial and natural materials, the materiality of the site is a contemporary take on the juxtaposition of foundry and tree-filled river’s edge. Also, these were picked with durability in mind. The image to the right shows the model for the project, created with Lazer-cut MDF and cardboard, whereas the image below shows the elevation of the entire proposal, with the cabins repeating through the river’s edge.
a central communal space When designing the CafĂŠ and Artist Spaces in more detail, I looked for precedents for interior design styles and space requirements. I wanted a mix between calming, dark furnishings and the upbeat and vibrant nature of coffee to inspire visitors to move from the open and light atrium space.
Facing the green spaces, I wanted a black-stained timber, which would weather and age. Dark, stained wood, rustic copper and chalkboards all appear in the existing redbrick foundry; marrying the industrial theme runs throughout the scheme.
& studios for collaboration In comparison, the Artist Studios are created with light, cheap and durable materials.
These Chipboard panels allow sound to travel and can be replaced cheaply.
From talking to artists through a questionnaire, I gathered information about the type of space they would require, and worked these into the cabin design. They asked for configurable spaces, where they could expand or split them to suit projects.
The process of creating these internal photo-montages, or collages of precedent ideas, really helped the understanding of the space and conveying the atmosphere and materiality of the internal spaces.
PADDINGTON PLACE.
PADDINGTON, LONDON. professional project. group project. jtp, may 2016. EMMETT O’SULLIVAN- EOS@jtp.co.uk JTP is an architectural practice based in Clerkenwell, North London. They pride themselves on ‘Placemaking’ through the use of a community engagement process. JTP look exclusively at residential schemes in detail but their master planning schemes focus quite heavily on creating locations which have a mix of uses. The sides of JTP I was involved with included low-rise large-scale housing developments; High density tower blocks; Urban in-fill sites; as well as a community planning three-day weekend, creating a competition entry with Civic Voice for the redevelopment of the area besides Paddington station. In January 2016, a proposal for a 72-storey skyscraper on the site, nicknamed the ‘Paddington Pole’, was withdrawn. Create Streets, an independent research institute focusing on towns and cities, launched a public competition to suggest high-quality alternative schemes. JTP and Civic Voice, the national charity for the civic movement, organised the Community Planning Weekend for the site as part of the competition, which was completed over the course of a bank holiday weekend. This process included local people and others with an interest in the future of Paddington were invited to participate over two days in workshops to plan ideas and create a new Vision for this important site and its relationship with the surrounding area. The culmination of the weekend’s activities was developed into the illustrated Vision for Paddington Place by the JTP team and this was presented back to the local community on Tuesday 3 May 2016 at St John’s Hyde Park. The new Vision was then submitted as the entry to the Create Streets design competition. The design work and competition entry was completed over a short threeday process in a small team of One Partner, three architectural assistants ad one senior architect. competition aerial image of scheme: James Holyoak for JTP
Hands On Planning
the community planning weekend The community was a significant force behind the withdrawal of the proposals for the ‘Paddington Pole’ scheme; faced with the 72-storey tower, local community groups and stakeholders voiced their concerns: that, with the tower proposal, this important site would not optimise the potential for comprehensive regeneration around Paddington Station; that the towering height would dominate the predominantly low and mid-rise local skyline; and that the design wouldn’t befit Paddington heritage. The Community Planning Weekend (CPW) was held on the 29th/30th April of 2016 at St. John’s Church in Paddington, West London. Over the course of the CPW, local people and others with an interest in the future of
Paddington were invited to participate in workshops and walkabouts to plan ideas and create a new vision. This included: - Walking around and taking photographs of the site and the immediate context - Creating key words: Problems, Dreams + Solutions. - Potential use diagrams drawn from group discussions - Masterplan diagrams, created with the general public Following the CPW, the JTP team summarised the workshop outpits to develop a masterplan and 3D model for the ‘Paddington Place’ competition. This was then shared with the public at the Report Back presentation on 3 May 2016.
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1 Paddington station entrance 12 Mint museum - historic hospital building 2 Upgraded Underground entrance 13 Retained frontages - Royal Mail Sorting Office + Hotel buildings 3 Brunel Square - car-free station entrance with active frontage. new buildings 4 Mint Yard - inner courtyard; landscaping + restaurants. 5 South Warf Square - repaired 14 New Hospital accommodation on footprint of previous building junction between canal walk and station entrance 15 New hospital buildings - framing new public space 6 Pedestrian link - joins square to taxi rank + tube entrance 16 Mixed-use Commercial and NHS owned tower with commercial at street level 7 Bays Wharf - public green space next to canal 17 Cycle Hub - entrance + cafĂŠ on street level; storage + maintenance in basement 8 Paddington Market - covered space for stalls + events 18 Expanded Royal Mail Sorting Office commercial + residential floors. 9 Mint Arcade - Covered space in historic building conversion 19 Apartment building - mixed uses + duplex apartments at ground level 10 Widened pavement for bus stop + taxi lay-by 20 Expanded Mercure Hotel. 11 Winsland Mews - new, widened service road.
artists impressions of new frontagre on praed street James Holyoak for JTP
roof plan of competition entry, right Authors own for JTP
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The design was predominantly created in Sketchup, working by calculating areas in the 2D space to meet the competition brief areas, and then creating massing models. Later, after a very simple mass of the entire masterplan was created, each model was then separated between the team for different designers to work on adding detailing.
Community Planning weekend needed to be condensed into the report back, as well as a final model needed to be sent to the Illustrator to create indicative ‘artists impressions’ of the street scenes and spaces. These proved highly useful methods of explaining the scheme to the general public as well as worked to joint-win the competition.
This was done over a very short and intense 2 - day - process, where the information from the
artist impressio James Holyoak
artists impressions of mint yard James Holyoak for JTP
artist’ impressio James Holyoak
on of view from paddington entrance: for JTP
on of view into mint yard for JTP
lewisham exchanGe.
loampit vale, lewisham, london. professional project. group project with individual study. jtp, month 2016. dominic chapman - dc@jtp.co.uk Based in Lewisham, part of the regeneration of the Loampit Vale area, the proposal is a circa 260 unit scheme with both commercial / retail units and a new station entrance for the Bakerloo Line extension. The site has been allocated for development with the council’s local plan. Currently, the proposal is for a tall circa 30-story tower with a smaller block to creating a dynamic skyline, to highlight the entrance to the new station. I was involved at many of the stages of this project as it has gone throughout the different design changes. My primary role was in presentation but also included an individual study into the design of the station entrance. Images in this portfolio are taken from many different stages of the building development, as it is a currently on-going project. Through being involved with the Loampit Vale team, I was lucky to attend many design meetings, including the Client, Transport for London and National Rail representatives as well as attend one of the Design Review Panels with Council representatives and members of Lewisham’s designers and architects panel.
day/night renders of design options, created by JTP
The project originated from a masterplan between JTP and the Architects on the adjacent land, Assel, from the Council’s original plans for the area. The project, Lewisham Exchange, is based in the South-East London Borough of Lewisham, zone 2/3. Connected by the DLR and National Rail services, the site is listed as a potential for the position of a station entrance for the proposed Bakerloo Line extension (BLE).
AN ERPLAN ANALYSIS ANALYSIS
As an island site, separated by busy main roads and the redevelopment, the team identified a great opportunity to create a public square with the bulk of the mass positioned towards the railway.
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Left: site in relation to the town centre and transport links; Right: Key height
by JTP NODESfrom surrounding buildings. Diagrams created A CLUSTER OF A CLUSTER TALL BUILDINGS OF TALL BUILDINGS
THE STATION ENTRANCE
LEWISHAM EXCHANGE
KEY OBJECTIVES PART OF A LARGER
KEY OBJECTIVES PART OF A LARGER
BUILD A MARKER FOR FAMILY OF BUILDINGS RESPO THEHEIGHTS STATION ENTRANCE BUILDING O ARKER FOR BUILD 360 TOWER FAMILY OF BUILDINGS RESPOND TO CONTEXT STATION ENTRANCE
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PART OF A LARGER BUILDING HEIGHTSSTRONG CONTINUOUS TOW FAMILY OF BUILDINGS RESPOND TO CONTEXT TO BOTH BUILDINGS DING HEIGHTSSTRONG O BASE BUILDINGS TOUCH THE GROUND 360CONTINUOUS TOWERTOWER GRID MODULATION OF FRAMES NEW PUBLIC SQUARE MATE OND TO CONTEXT TO BOTH BUILDINGS 6
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BUILDING HEIGHTSSTRONG CONTINUOUS BASE TOWER FRAMES NEW PU RESPOND TO CONTEXT TO BOTH BUILDINGS ONG CONTINUOUS BASE TOUCH THESQUARE GROUND GRID MODULATION OF BUILDINGS REFLE BAY STUDIES TOWERBUILDINGS FRAMES DETAILED NEW PUBLIC MATERIALS EMPHASISE T TOTH BUILDINGS HERIT
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STRONG CONTINUOUS BASE TOWER FRAMES NEW PUBLIC SQUARE TO BOTH BUILDINGS S BASE GRIDSQUARE MODULATION OF BUILDINGS REFLECTING LEWISHAM WER FRAMES NEW PUBLIC MATERIALS EMPHASISE TWO BUILDINGS HERITAGE
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TOWER FRAMES NEW PUBLIC SQUARE Horizontal linking Vertically aligned REFLECTING LEWISHAMS BRICK elements fenestration MATERIALS EMPHASISE TWO BUILDINGS HERITAGE
Primary Vertical piers
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REFLECTING LEWISHAMS BRICK HERITAGE Base wall
Vertical linking Primary Horizontal elements bands Top: key pricipal diagrams, authors own for JTP Bottom: Grid and prospective details diagram created by JTP
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STRONG CONTINUOUS BASE TO BOTH BUILDINGS Many of the design elements GRID MODULATION OF BUILDINGS of the project changed
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1 hight marking new station 2 joining family of buildings with client feedback, 3 local context of height council meetings and the 4 strong continuous base independent design review 5 tower frames public square panel presentations. 6 360ยบ tower REFLEC TOWER FRAMES NEW PUBLIC SQUARE 7 buildings touch ground At many stages of the project, 8 grid modulation HERITA I was tasked to create a series 9 emphasis through materials MATERIALS EMPHASISE of key, clearTWO designBUILDINGS principals 10 materials reflecting the for the scheme. heritage of lewisham
KEY PRINCIPLES AND MASSING A part of the feedback REFLECTING LEWISHAMS BRICK from the Design Review Panel HERITAGE began to lead many of the
design decisions. At JTP I was involved with a lot of the production of presentation documents. In these documents, it was crucial for the whole design to be clearly represented. This often meant updating information and clearly
explaining the story at every stage of the design. This really helped in the way I approach design development and how it can be shown and displayed instead of the final product only being on show.
In addition to the main project, I asked to do a small study for the interior of the Tube Station. This included research into TFL’s 2015 underground station idiom guide and London stations which are particular successful. With an existing floor plan already established I proposed the view I wanted to create and then built the interior model in Sketchup with post-rendering work completed in photoshop. After completing, I included the Tube station in the overall proposal ground floor plan, to show how the exterior space would blend seamlessly into the new station entrance. Being able to work independently on this project gave me the responsibility of researching the appropriate materials and design motifs necessary for the necessary viewers and clients to be convinced. At this stage in the design the space was based around an airy open space to funnel visitors into the station. The image itself received praise at the time, however as the design moved forward the station entrance itself needed to change.
top: Visual for station entrance, Bottom: Ground floor plan Authors own for JTP
illustration. In addition to my studies and working at JTP, I was given the opportunity to sell an independent book of Halloweenrelated illustrations at London’s MCM Comic-Con. This was a fantastic experience to test my drawing ability and to produce something to be sold to the general public. Overall, there was a good response and I have now set up an online store. From the response to my Halloween-based Zine, I have since started looking into illustrating an independent 10-page comic.
above : halloween zine; selling at MCM comic-con right : zelda breath of the wild inspired illustration.
videos + Travel. Independent projects. 2011 - present.
Starting with a few Vlogs on Youtube, my passion for film has grown over the years. I have been combining clips to music, cataloguing and sharing memorable events since 2011. With my recent trip to Yunnan, China and Hong Kong, I recorded footage every step of the way. As an ongoing project, I am learning so much about creating interesting content for a mass audience to share the adventures we got up to. This experience was what lead me to collaborate with the British Council on a trip to India - visiting New Delhi and Mumbai. On this trip, I recorded video, photos and sketches and combined with research created a dissemination project entitled ‘MADE IN INDIA’ which discussed the relationship with India and the UK. I have predominantly used Apple iLife products, iMovie and Garageband, but recently I have experimented with Final Cut Pro and Adobe Premiere. Despite this journey just beginning, I now use a GoPro Hero 4 and a DSLR Canon 100D.
detail of preservation : kunming model. authors own.