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PORTFOLIO * Introduction
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Curriculum Vitae
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Re-constructing Fashion Retail
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A Sense of Overlap ................................................
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Restoring Naples
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The Men’s Shed
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Granny Flat Addition
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Japan Study Tour
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Helping the Sunrise
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selected work by JAI MEHRA 2015-2020 Curtin University
*containing work from Bachelors of Applied Science (Architecture) and Masters of Architecture (MArch)
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Introduction
Jai Mehra
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Hi! My name is Jai. I am a fresh graduate of the Masters of Architecture course at Curtin University. I have always found myself to be passionate about all aspects of design; this has carried over to architecture where I pride myself in developing high quality designs and images that reconsider the way built form is traditionally seen. I strive in creating environments that encompass a sense of atmosphere and poetics whilst signifying the finer moments of architecture and standing for their survival in the future. The following portfolio showcases a hand full of projects undertaken during my 5 years of academic study.
e: jaimehra1998@gmail.com t: 0452 395 450
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Curriculum Vitae
Jai Mehra
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With experience in retail, voluntary work and the mining industry, Jai is not afraid to learn new tasks and undertake challenges. Recently completing studying Masters of Architecture at Curtin University, Jai is a hard, dedicated worker who strives in both individual and team environments.
CAREER
2017 – 2020
Crust Gourmet Pizza, Victoria Park Undertook in-store tasks and delivery driving in a friendly team environment.
2016 – 2017
Intertek Naval Base, Kwinana Worked independent rostered shifts involving heavy lifting and machinery.
2016
Woolworths, Port Coogee Was assigned check out position and interacted with a wide variety of people and demographics.
2014 – 2015
McDonald’s, Bicton Worked in the kitchen and learned how to time manage and adapt to frequent changes in menu.
VOLUNTEER
2015
Willetton Basketball Stadium Undertook a coaching role for a youth boys basketball team.
2013
Philippines Immersion On behalf of high school, I was selected with 14 other students to take part in voluntary work in the Philippines.
AWARDS
2018
City of Stirling Prize Designed the winning building for a proposed community centre in conjunction with Curtin University.
2018
Gold Prize, Beijing Design Week Worked in Beijing over the course of a week to win a design competition which looked at helping the elderly through technology.
EDUCATION
2019 – 2020
Curtin University Masters of Architecture
2016 – 2018
Curtin University Bachelors of Applied Science (Architecture)
SKILLS
Architecture AutoCAD, Autodesk Revit, Sketch Up, Twinmotion, Rhino, Grasshopper, Lumion, V-Ray Graphic Design Adobe Photoshop, Adobe InDesign, Adobe Illustrator
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01 Re-constructing Fashion Retail. Originally a means of visual communication and social representation, the identity of the fashion industry has shifted to one of mass production and overconsumption fuelled by the exploitation of humans and the natural environment (Fraser-Mines 1, 2017). In order to compete and capitalise on the growing demands of the industry, brands have shifted their focus to the development of trendy yet afforda-
Thesis Project 2020
ble garments, resulting in a notion that can be called ‘Fast Fashion’ (Bhardwaj and Fairhurst 2009). This has led to environmental issues such as excess waste from factory offcuts and overconsumption, as well as ethical issues from outsourcing manufacturing to third world countries where unsafe working conditions and cheap labour run rampant (Thomas 2019).
With this in mind, my thesis project utilised salvaged materials and fashion inspired techniques to address these issues of textile waste and unethical manufacturing through the creation of a slow fashion retail
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Re-constructing Fashion Retail
hub.
(Software Used: Autodesk Revit, Sketch Up, Adobe Photoshop, Rhino + Grasshopper)
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Re-constructing Fashion Retail
Thesis Project 2020
guiding patterns.
Calling back to the notion of deconstruction, the design of the structure was inspired by the patterns of world renown fashion designer Maison Margiela. These patterns were placed around the centre of the site before being overlayed over one another and traced to further distort the base form of the floor plan and to generate new spaces.
9 ground floor plan.
Overhead copper beams, shown in blue, allow for clothing to be displayed whilst also freeing up floor space for the primary store. Extruded brick displays work to bring a level of craftsmanship within the design while 12m tall fitting rooms are given priority over the site to challenge the traditional characteristics of functional / service spaces in fashion retail, embracing these spaces instead of simply hiding them away.
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Re-constructing Fashion Retail
Thesis Project 2020
first floor plan.
Wrapping the slow fashion retail hub is an aluminium faรงade inspired by the fashion constructive techniques of pleating and draping. Each individual pleat is unique and drapes from the first-floor level to the ground floor where they work to frame the entryways of the structures within. The pleats are also used within the interior of the first floor to create the illusion of the aluminium pleating the spaces within. This faรงade works in conjunction with the tin sheeting metal roof to create the illusion of the roof draping itself upon the structure.
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Re-constructing Fashion Retail
Thesis Project 2020
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02 A Sense of Overlap. How can form, geometry and materiality allow themselves to be manipulated by the natural surroundings to construct a structure that overlaps physically through geometric shapes yet also manages to overlap abstractly through the targeting of multiple and varying social, ethnic and age-based demographics?
This Burns Beach cafe project utilises natural ele-
bridge the gap between natural and unnatural, creating a synthetic atmospheric space for all members of the local community. The space also engages itself within the local businesses that surround the site to further develop upon the social life of the City of Joondalup.
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A Sense of Overlap
Integrated Studio & Methods 2019
ments from the site such as timber and limestone to
(Software Used: Autodesk Revit, Sketch Up, Adobe Photoshop, Rhino + Grasshopper, Lumion)
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A Sense of Overlap
Integrated Studio & Methods 2019
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ground floor plan.
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A Sense of Overlap
Integrated Studio & Methods 2019
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section A
section B
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Limestone skylights allow for natural light to enter the cafe during afternoon and evening times of the day. The skylights are orientated in a manner as to highlight the internal limestone bar that acts as the focal point for the design.
Brass is used to accent the overwhelming amount of limestone and provide a distinct character to the space. This is paired with recycled timber table tops in the sub-level that
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A Sense of Overlap
Integrated Studio & Methods 2019
are sourced directly from the site.
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03 Restoring Naples. A research-based, theoretical proposal, this project looked at restoring an aspect of Naples, Italy, through the exisiting cave / tunnel system that sprawls beneath the city. Upon analysis of the city it was determined that the retail and services spaces were often scattered in their own clusters, away from one another. This presented the opportunity to generate a market type hub underground, where all these different types of stores could conjugate in one Urban Studio & Methods 2020
communal area with the hopes to provide a level of social and economic regeneration.
In Henri Lefebvre’s ‘Social Space’ chapter of his book Production of Space he also argues that rather than simply being a container that needs to be filled, space itself is an active designer of our social relations. With this in mind I decided to design a amphitheatre type space at the main entrance of the markets to immediately attract the attention of visitors and provide them with a level of entertainment as soon as they enter the tunnels whilst also generating an opportunity for economic growth for local
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Restoring Naples
artists and musicians.
(Software Used: Sketch Up, Adobe Photoshop, AutoCAD, Adobe InDesign)
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Urban Studio & Methods 2020
site analysis.
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Restoring Naples
I decided to analyse and map the retail and market aspects of Naples. To do this I split the markets into three categories: 1.
Fashion / Clothing
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Supermarkets / Produce
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Misc. (Art stores, bookstores etc.)
27 theoretical section.
I believe by proposing an underground bazaar or marketplace it directly links back to the rich culture of trading among the city’s ports and can offer a level of social and economic sustainability for the surrounding community.
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04 * The Men’s Shed In conjunction with the City of Stirling, Curtin University presented us with the opportunity to propose a design for a new community centre that would co-exist with an existing men’s shed on site.
Working as a hypothetical ‘firm’ our group designed a functional communal centre that focused on developing the skills of the local community through a series of workshop spaces that would then in turn allow
Third Year Studio & Methods
visitors to attain a certain level of skills that could be taken home and used within the City of Stirling.
As a group we found it important to not completely ignore the men’s shed community and instead opted to retain much of the original shed and expand upon the needs and wants of this pre-existing clientele whilst also catering to the requirements of the City
The Men’s Shed
of Stirling and local demographic.
*Winner of City of Stirling ‘Most likely to be built’ Award 2018
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Group Project: Jai Mehra, Jack Johnson, Gabriele Arace, David Nguyen (Software Used: Sketch Up, Adobe Photoshop, AutoCAD, Twinmotion)
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30 design framework.
Third Year Studio & Methods
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The Men’s Shed
As a hypothetical firm, we had to sell ourselves to the client. To do this we formulated our practice under a series of clear and concise design stages that the client could easily understand. Although it may seem systematic and rational there was plenty of room for creativity, flexibility and exploration.
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05 Granny Flat Addition For this unit, I was tasked with dealing with a hypothetical client that was looking to add an additional unit to their property.
The brief involved a set budget of $80 000, full documentation of the final design and filling out of all necessary forms that would be needed to complete a realistic project like this (Client Architect Agreement, Fee Proposal, Emails, Building Permit Appli-
My design utilised the reverse brick veneer method of construction in conjunction with timber roofing and colorbond matte sheeting to create a humble yet charming flat for the client.
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Granny Flat Addition
Professional Practice 01
cations, Development Approval Applications etc.)
(Software Used: Adobe Photoshop, AutoCAD, Autodesk Revit, Lumion)
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Granny Flat Addition
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SITE LOT 46 #98 Modillion Avenue, Riverton, WA 6148
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PROJECT ANCILLARY DWELLING
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FLOOR PLAN Date
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Professional Practice 01
TIMBER BEAM 114 x 114 mm
CONCRETE FOUNDATION SLAB 150 mm
CONCRETE FOOTING 400 x 300 mm
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Granny Flat Addition
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SITE LOT 46 #98 Modillion Avenue, Riverton, WA 6148
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Granny Flat Addition
Professional Practice 01
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05 Japan Study Tour Selected alongside 14 other students, I visited Tokyo, Japan and conducted research on the possible connections between fashion and architecture.
A precursor to my thesis project and more of a personal project, my time in Japan allowed me to further develop my understanding of how fashion could influence architectural built-form. The following are a series of spreads from a magazine I developed
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Japan Study Tour
Personal Project
during the trip.
(Software Used: Adobe InDesign, Autodesk Revit, Sketch Up, Adobe Photoshop)
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URE
There is an evident relationship between fashion and architecture. This report explores this relationship and the role architecture plays in the formation of fashion identities and how fashion can be used to inspire architecture.
REFLECTION How Tokyo, Japan shaped and altered my research and original brief.
When on the tour the scale of my proposed brief started to dawn on me. Walking amongst the high-rising skyscrapers of Tokyo I was ignorant to the amount of architectural thought put into nearly every design decision. Each skyscraper felt justified due to the design decisions made in regard to their façades or detailing which helped to provide a sense of architectural value to what could have easily been another boring thirty story mass. Amongst these large structures however were numerous small pockets of architecture which served as a contrast between their high rising counterparts. Here I observed the finer details of Japanese design and architecture. It was amazing to see how despite the large population many of these cafes and stores were smaller and more intricate than that of ones you would find in Perth. What particularly struck me was the amount of greenery and foliage that engulfed nearly every building. I managed to stumble across a Japanese architecture tutor during my stay at the hostel and she informed me that government offers a monetary incentive for designers and businesses that utilise a certain amount of natural fauna. A smart and forward-thinking idea, it was hard to walk along the local streets without noticing that areas that would have ultimately been disregarded (alleyways, service areas etc.) still held a level of beauty and undeniable charm. Returning from this experience I realised that my original brief was far too extensive to be undertaken over the course of the next two weeks. If I wanted my design to be well-thought out and challenging, I would need more time and thus should leave the task of developing a design based on the relationship between fashion and architecture for my final thesis project. In the meantime, I could instead focus on smaller details such as roof form, facades and materiality to start my documentation into ways fashion can be used to inspire architecture. For this I chose three main fashion techniques, these techniques being draping, fluidity and weaving. With these in mind I developed numerous iterations that saw the realisation of my concept.
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Proposed brief for the final assignment including changes and alterations made after the study tour.
Weave
Acne
Designed by Piuarch Architects the building features an abstract graphic façade, with a hyper-minimalist interior that when paired reflects the themes and allure of Givenchy (“New Givenchy Flagship Store In Seoul” 2019). The façade in particularly was designed with the intent to evoke the distinctive tailoring ‘T-cut’ that characterises the style of the French brand. The skinning of this façade is inspired by the characteristic use of fabrics that Givenchy created in their latest collections resulting in an ashlar surface consisting of electro-polished steel plates that create reflections that change depending on the lighting (“New Givenchy Flagship Store In Seoul” 2019).
Prior to the tour, the originally proposed brief saw the realisation of a complete structure, influenced by fashion, that would be the product of the following design steps:
Weaving Perhaps the most recognised amongst the aforementioned techniques, weaving is defined as the act of forming fabric by interlacing threads (Oxford Dictionary 2019). With this in mind I started to imagine an outdoor patio setting where the technique of weaving could be used to provide a sense of privacy and protection whilst also allowing for natural light and ventilation to encompass the space.
01 Theory
02 Context
03 Site
Research and analyse the possibilities in which fashion can be used to inspire architecture.
Analyse the surrounding context of the site (environmental, social etc.).
The environmental and topographical elements of the built area that impact the design of the structure.
04 Function
05 Form
06 Material
Following function, the structure will consider areas such as program, circulation and connection first.
The aesthetics, geometry and scale of the design. These factors must work in unison with the function and context of the project.
The materials chosen must visually link back to the theory of the design and Japanese visual culture.
07 Performance
08 Review
09 Final
The structure must encompass sustainable and energy efficient technologies given the current social and environmental climate.
An overall critical review of the proposed project. Has the original theory been met? Is the structure sustainable and eco-friendly? Does the structure function highly?
The resolved design must pass the final review and hold elements of aesthetic value with a clear intent and function.
Japanese design, par come world renowne lish 1, 2011). Howev importance samurai o ning these designs. T consisting of expensi ance of these samur stripped back style of The notion of self-di tional garments are st ing, particularly blac as a more sophisticat 2011). This minimali fashion accurately de ment based on simp been defining charact (English 2, 2011).
Acne is a brand known for attention to detail, experimental use of materials and professional tailoring (Kwok 2015). Their Korean flagship store designed by British architect Sophie Hicks aims to celebrate the refined aesthetic of the brand whilst also reflecting the contrast between the modesty and discretion prized by Swedish culture and the forceful attitude exuded by Acne (Hicks 2018). To demonstrate this contrast, the store features two juxtaposing visual aesthetics. When viewed from the exterior, the structure is simple and restrained with a translucent lightbox sheltering the brooding interior. This calming aura of the exterior is used to represent the characteristics of traditional Swedish culture (Hicks 2018). However, appearances can be deceptive. Upon entering the store, you realise the seemingly calm and simple box is used to hide the monstrous and imposing concrete interior (Hicks 2018).
Simplicity, irregulari meaning are also defi history of Japanese ar to and Rei Kawakubo garments that focused and use (English 3, 2 ed a sense of individ linked back to the sen sidered culturally imp Japanese art and desig
Hicks purposefully left the interior spaces undecorated and physically unfinished to emphasise the rough concrete that represents the intimidating attitude of the brand. The store is also pristine; all ducts, pipes and services are located on the roof to ensure the atmosphere within remains undisturbed and clean much like the designs by Acne (Hicks 2018).
To visually represen bodied features such minutely detailed, all civilisation. When de it is also important t embracing the avantfine art, architecture a
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The following exam er-growing relationsh drawing upon famous crucial connections w
THREE
Personal Project
Upon starting my research for assignment one and two prior to the tour, I found that the relationship between fashion and architecture was almost always documented and analysed with architecture acting as the main source of inspiration for fashion. This commonality encouraged me to look at this relationship from a different perspective, where fashion instead could be viewed as a source of inspiration for built-form. Assignment one and two saw me undertaking extensive background research on how the two fields related to one another, drawing upon famous architects and fashion designers such as Zaha Hadid and Issey Miyake who both have acknowledged the relationship between their two fields. With every second spent researching my confidence grew and I set myself the challenge of designing a structure inspired by the various techniques used during the manufacturing process of garments.
Japanese Design
Givenchy
Japan Study Tour
Using my intended thesis topic, I decided to dedicate this unit towards my interest in the relationship between fashion and architecture. When discussing this idea with friends and family I was often met with scepticism on how the two industries related to one another. However, whenever I mentioned my intent to showcase the relationship between the two fields to individuals who were studying either fashion or architecture, there was little to no doubt shown, clearly indicating that there is an evident relationship between the two. At this stage however, the topic was still very broad. Having numerous connections with students studying fashion at Curtin University I was surprised at how many utilise architecture as a means of inspiration for their garment designs. Often showcasing common connections to brutalism, self-expression and form these similarities gave me the confidence to fully delve into my topic without a shred of self-doubt.
This unit has allowed me to tackle the important questions regarding my topic prior to thesis, providing me with somewhat of a head start in regard to research and design. For my next step I am interested into looking into more parametric software such as Rhino and Grasshopper. Given that fashion is seemingly much more fluid than that of architecture, these programs would allow me to develop numerous more intricate iterations at a more efficient rate, resulting in a final design that takes into consideration all opportunities presented by the relationship between fashion and architecture.
The Givenchy store situated in Seoul, South Korea is another strong example of the close relationship shared between fashion and architecture. Being such a recognisable brand, it becomes important that when designing a new flagship store, that the identity and work of the brand is clearly portrayed to the consumers experiencing the space.
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I was drawn to this study tour for two main reasons, the first being the chance to experience Tokyo. I have always been eager to escape Perth and enter an environment that seemingly never slept and exuded life. Atmospherically the city is constantly moving, there is always an event or activity going on. I was taken aback by the opportunity to experience countless surrounding neighbourhoods with their own individual culture, all of which were made easily accessible due to the extensive public transport network. Secondly, I saw this unit as an opportunity to kick-start my thesis preparation for my final year. The unit outline allowed for us to choose our own topic and create our own brief. I found this level of independence and freedom enticing as it is very rare to be in full creative control over your own topic and final output.
Concepts showcasing how fashion can shape form.
As mentioned in my reflection, after completion of the trip it became evident that a project of this scale would require more time and thus should be post-poned for thesis. The newly proposed brief instead focused on iteritative work and concepts, inspired by fashion, that could be used to showcase the relationship between fashion and architecture.
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ONE
A collection of images that act as a source of inspiration for my project.
JAI MEHRA
rticularly regarding fashion, has beed for its understated elegance (Engver, what many fail to realise is the origins play in historically underpinTraditionally custom-made kimonos, ive fabrics that anchored the appearrais have been replaced by a more f everyday clothing (English 2, 2011). iscipline symbolised by these traditill represented through darker clothck clothing that has become accepted ted means of urban attire (English 2, istic approach on traditional Japanese epicts the love of restraint and refineplicity that, throughout history, have teristics of Japanese visual aesthetics
45 Fashion and Architecture Architectural space plays an important role in creating a particular atmosphere that can be experienced by consumers. This atmosphere directly links back to the identity and image of which the brand encompassing the store embraces. By utilising architectural elements such as materiality, lighting, form and space; the identities of these fashion brands are not only articulated but embraced as well. By designing with the intent to represent the identity of a brand, the design process is then inherently influenced and inspired by said brand.
Background research and analysis on the relationship between fashion and architecture
nt this aesthetic, designers have emas asymmetry, imperfection, and the l of which are facets of a continental esigning under a Japanese influence to note the willingness Japan has in -garde, all of which is evident in its and fashion design (English 6, 2011).
mples showcase the close and evhip between architecture and fashion, s Japanese fashion designers and their with architectural design.
I have always been intrigued by the manufacturing process of physical garments. Although overlooked by many, the process and techniques used to create durable, yet effortless looking clothing are quite extensive. I personally view these techniques as an opportunity to expand upon general architectural form. By looking at the three main fashion techniques of draping, fluidity and weaving, I experimented and created numerous iterations inspired by their linking technique.
Drape “
Juun.j
In their simplest form, both fashion and architecture act as a means of shelter for people in varying social backgrounds (Farahat 1, 2014). Both fields were exposed to similar eras of design where past means of complexity found themselves transitioning to modernity and simplicity, resulting in a close bond between the two. This close bond can be seen by architects who are inspired by the free-flowing and physical nature of garment design and the fashion designers who utilise architecture as a means to communicate their designs to the public (Farahat 1, 2014). The following architectural examples clearly showcase the symbiotic relationship between architecture and fashion, highlighting the physical elements that can be manipulated and controlled to create and portray particular atmospheres.
Issey Miyake is a Japanese fashion designer renown for his acceptance of modern technology, fragrances and exhibitions (Lowe 2017). For over forty years he has reinvented form, redefined the boundaries of clothing in both functional and aesthetic contexts, and rejuvenated new modern methods of clothing production (English 10, 2011). What Miyake specialises in however, is his experimental means of pleating fabrics which in turn results in flexibility of movement for the wearer. To produce these garments, Miyake insisted that they were cut and sewn first, before being sandwiched between two sheets of paper and fed into an industrial heat press where they gain their signature pleats (Lowe 2017).
Issey
ity, perishability and suggestion of fining characteristics instilled in the rt. Fashion designers Yohji Yamamoo both opened their design career with d on the beauty found within age, time 2011). In Japan these designs reflectduality and perishability and directly nsitivity and subtleness that are conportant components in contemporary gn (English 3, 2011).
Juun.j identifies closely with elements of darkness and how the colour black can be used to draw attention to silhouettes in design whilst acting as a uniform link between fashion pieces (Angelopoulou 2019). Architecture company WGNB recently designed the flagship store for Juun.j in Seoul, South Korea and utilised elements such as light and shadow to express the darkness represented by the brand. “Black is a colour symbolic of Juun.j and the most beautiful shadow out of shapeless existences,” (WGNB 2019).
Although seemingly disconnected at a glance, there is a clear connection between Miyake’s famous pleat designs and the work of architect Kengo Kuma. Analysing Kuma’s Hongkou Soho project there is an evident Miyake influence, whether intentional or not, reflected by the use of aluminium mesh on the exterior facades to visually represent the pleats of a women’s dress. “For the facade, we created pleats, made of aluminium mesh like woven lace, which forms a soft dress for women.” (Kengo Kuma and Associates). The pleated design continues throughout the interior to visually link with the exterior of the structure and create the illusion of a pleated, flexible design (Lowe 2017).
Rei
The overall form of the store is quite obscure with sharp geometry used to demonstrate the unique silhouettes designed by Juun.j and the curiosity of which these silhouettes evoke. Almost entirely consumed by darkness, the store allows for pockets of light to enter the interior showroom spaces to provide a level of contrast between light and dark, thus emphasising the rich black colour that finishes the walls of the store (Angelopoulou 2019). The admission of natural light when paired with the obscure protruding forms of the store creates unique shadows that sprawl within to further represent the darkness of the brand without the need for entirely dark finishes (Aneglopoulou 2019).
The importance of architecture in translating vision into space is undeniable. Rei Kawakubo, the founder of the fashion brand Comme des Garcons, recognises this importance in her numerous exhibitions, particularly that of her exhibition titled ‘Art of the In-Between” (Betsky 2017). To represent her collection, Kawakubo drew upon the architectural leitmotif of the circle, which in Buddhism symbolises the void and the space evoked through the connection of structural forms (Betsky 2017). To emphasise this void, the gallery utilises a stark whiteness through concrete to visually represent both absence and presence, linking back to the simplicity and refined characteristics of traditional Japanese art. Kawakubo also recognises the importance of architecture when representing her designs referring to the relationship between fashion and architecture as a “total work of art” (Betsky 2017). This relationship is reflected in the exhibition, intending to be a holistic, immersive experience that encourages personal engagement with the fashion pieces on display (Betsky 2017). Architecturally, the circulation of the exhibition is entirely influenced by the forms of which find themselves residing in the building. The concrete curves guide the consumer throughout the instalment whilst the top-heavy masses draw them in resulting in a sense of enclosure which engulfs the surrounding context (Betsky 2017). Kawakubo utilised architectural built-form to show off her clothes in a manner that required effort to touch yet could be framed in a way that that demanded the viewers’ attention often incorporating the intrusion of shapes and forms to echo the silhouettes of her designs (Betsky 2017).
Draping
Fluidity
A drape can be defined as the act of arranging a cloth loosely or casually on or round something (Oxford Dictionary 2019). Relating this back to architecture, I played with the idea of how a structure of a building would look if it were to appear draped over an unknown form.
When thinking about fashion I immediately think about the free-flowing and almost liquid nature of the garments. This lead to me pondering about how this sense of fluidity would be visualised or perceived when acting as an exterior façade for a building. The following concepts try to encapsulate this sense of fluidity through the use of a wooden façade exterior.
Fluid
How can fashion constructive techniques be used to inspire architectural built-form?
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07 Helping the Sunrise* Selected alongside 20 other students, I took part in the annual Beijing Design Week Marathon which looked at utilising technology to help the elderly community.
Our group looked at designing a solution to ‘Sundowning’, a state of confusion occurring in the late afternoon that derives from alzheimer’s disease or dementia and can lead to a variety of behaviours
Beijing Design Marathon
such as confusion, anxiety and / or aggression.
We proposed a technological memory box that would act as an intervention, utilising sensory input to intervene at two simultaneous levels: In the moment to eleviate levels of stress, and to reconnect to the present moment.
As a result, we envisioned a design that would provide the optimal happy path, by reducing both the intensity and duration of a stressful memory loss experience - helping the sun rise again in the lives of the elderly.
Helping the Sunrise
*Winner of Gold Medal Beijing Design Week
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Group Project: Jai Mehra, Stephanie Jones, Gracen Woodcock, Annika Harrisson (Software Used: Microsoft Powerpoint, Adobe Premiere Pro)
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Helping the Sunrise
Beijing Design Marathon
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Thank you for reading!
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