Jasmin Liddell. Part II Architect I enjoy finding attractive, alternatice solutions to problems; working with a wide range of creative processes and experimenting with each. The following portfolio has a selection of my work from Part I, Part II, a study abroad semester, Part I architectural assistant work, and some photography. 1
35mm Photography. Personal work 1
Jasmin Liddell
Double helix
Teatro Caja Granada, 2016
jasminliddell@hotmail.com
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Contents. page Skills & Personal details
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Academic . MArch (De Montfort University) MArch2. City Kitchen MArch1. Athens: Land & Water MArch1. Unit E: Mind Matters BArch (Robert Gordon University) BArch3. Aberdeen Architecture Academy BArch2. King’s Pavilion Gallery BArch1 & 2. Hand drawing Professional. Trost Architekten (Munich) AG59_BAD K33 & L40 HFW6 W35_TRH WAX51
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Personal. Digital photography Analog photography
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10-11, 31 3, 5, 17, 24-25, 30
35mm Photography. Personal work 1
Jasmin Liddell
Alhambra colonnade
Granada, 2016
jasminliddell@hotmail.com
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35mm Photography. Personal work 1 2 3 1
Centro Cultural entrance Red fl agged Swan River pools 2
Caja Granada, 2016. Lanzarote, 2014. Ascot (Western Australia), 2015.
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Jasmin Liddell
jasminliddell@hotmail.com
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Details. Jasmin Alice Liddell 09-07-1990 Hillymouth, Warcombe Lane, Lee North Devon, EX34 8LR 07815 577046 jasminliddell@hotmail.com
Education. Leicester School of Architecture, De Montfort University, Leicester (DMU) MArch Part II [Oct-2014 - Aug-2016] Study Abroad Semester, Athens University of Western Australia (UWA) summer studio, with Kalliope Kontozoglou, Raymond Quek, Eleni Gigantes & Elia Zenghelis [Jan-2015 - April-2015] Scott Sutherland School of Architecture, Robert Gordon University, Aberdeen (RGU) BArch Part I [Oct-2009 - May-2012]
Skills. Computer based Rhino V-ray for Rhino Grasshopper Elk Adobe Suite - Photoshop, InDesign, Illustrator, Premier, Bridge etc Microsoft Office AutoCad Vectorworks SketchUp Microsoft & Mac platforms Modelling Operation of laser cutter & high level of material and software knowledge for laser cutting CNC Milling - wood & softer materials ie. chemical wood Solid wood model making Paper, card, sheet wood model making Metal work - lathe operation, welding, soldering, cutting, drilling etc Photography analog & digital Other High standard of research & writing Watercolour painting Hand drawing Good written & spoken French Working understanding of written & spoken German 1
35mm Photography. Personal work 1
Jasmin Liddell
Out to dry
Venice, 2014
jasminliddell@hotmail.com
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Jasmin Liddell
35mm Photography. Personal work 1 2 3
Waiting for sunset Sun seat New mimcks old
Jaisalmer (India), 2014 Alberobello (Italy), 2016 Berlin, 2015
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MArch2. City Kitchen & Farm A reclamation of space; my thesis project aimed to put people back in touch with sources of two precious forms of nourishment through architecture: food and community. This community-based City Farm and kitchen, aspired to drastically alter our relationship with food; to offer a nourishing alternative to modern ‘non-spaces’, like supermarkets. 1
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1 Leicester City location plan 2 Thesis cover page/logo 3 City Kitchen & Farm masterplan
jasminliddell@hotmail.com
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MArch2. City Kitchen & Farm In the wake of the last economic downfall, there are hundreds of empty buildings, urban prairies and wasted open spaces in the centre of cities asking to be re-appropriated into something that isn’t another car park, student housing development or a supermarket. This is particularly synonymous with the city of Leicester. City Kitchen is an urban renewal concept for Leicester, in the form of communal kitchen, allotments, a small farm and education centre. Buildings that would otherwise have been empty, will be inhabited by food, and hence life. These spaces will gain a new authenticity that will transcend the ubiquity and repetitiveness inherent of chain stores, supermarkets and restaurants so prevalent in British cities. Through the exploration of various cultures’ attitudes to / relationships with foods, I found it necessary to design a space that would allow people of various backgrounds to share their culinary knowledge. Communal kitchens, workshops, and parties, will allow the multicultural populous of Leicester to share mealtimes, as well as their knowledge of food with each other. The virtues and values of proper cooking are essential, defining human activities, which sit at the heart of our cultures, shaping family life and are in themselves hugely enjoyable. 1
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Exploded structural isometric Interior render Site photos City Kitchen & Farm elevation Entrance render
Public kitchen, workshops & offices building, and pergola growing-structures Semi-private staff area & stairway to staff offices 35mm photographs assembled in a panoramic collage View from the north looking through farm towards the public kitchen building Proposed cut through disused-station viaduct: entrance & beginning of pergola growing-structures
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MArch2. City Kitchen & Farm 1
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1 Exterior walled-garden render 2 Interior cafĂŠ render
Glazed pergola south entrance cuts through the kitchen gardens linking buildings via pergola growing-structures Public Kitchen, restaurant, coffee shop and bar; the pergola growing structures continue through the building to grow plants inside as well
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MArch2. City Kitchen & Farm 1
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2 Interior cafĂŠ render 3 Summer exterior render
Jasmin Liddell
Cut through first fl oor office space, ground fl oor workshop spaces, and semi-private staff area & stairway to staff offices. During winter the vines outdoors on the pergolas die back, but the interior plants can continue to grow due to the warmer environment View from south-west corner of the building, above the restaurant, coffee shop & bar In summer the Leicester climate proves a fantastic growing environment for the kitchen gardens, the pergola growing-structures are bursting with climbing fruit & vegetables, allotments are thriving, and young families & children can easily get involved in small holdings etc
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MArch2. City Kitchen & Farm 1 2
Jasmin Liddell
1 1:200 buildings 2 1:200 site model
Solid wood, individually crafted (each from a unique piece of wood) buildings currently existing as empty shells on site Solid wood, laser etched paper, watercolour paper and plywood model - 1400mm diameter - showing proposed fields layout, drainage & irrigation channels from diverted adjacent River Soar, the existing disused station tunnels and viaduct, and a more detail structural model of the kitchen and workshops building
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MArch2. City Kitchen & Farm All photos: Digital photographs of 1:200 site model
Jasmin Liddell
jasminliddell@hotmail.com
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Study abroad. Athens- Land & Water This studio has been run for several years as a collaboration between ex-AA students Kalliope Kontozoglou, Eleni Gigantes and Nigel Westbrook as a summer studio option for students from UWA. A few students from DMU were able to apply to join the UWA students in Athens. I therefore took the opportunity to connect and expand my horizons with some world class educators. This studio project involved a highly phenomenological approach to urbanistics and interstitial spaces in Athens, Attica & nearby Greek islands. Marathon to Porto Rafti is a historically rich coastline, notably because of the battle between the Persians and Athenians in 490. Today a subtle yet profound monument remains; a small knoll in a plain where the slayed Athenians were buried. The significance of this battle can’t be understated as historians assume that if the Persians won, the face of Western civilization would look vastly different today. Democracy was born soon after this battle was won by the Athenians. Experiencing Marathon in January, beyond the monument to the coast, I feel immediately at home as if I were at a beach on the South West of England. There is an idyllic outlook around the bay facing South and a comforting shelter of surrounding natural pine forest. The beach seems to be on the edge of its seat waiting for summer, in denial of seasonal patterns. Visiting the beach on a cold and windy, yet momentarily sunny day, a stark reality of an abandonment sets in. As we venture further down the coast we are reminded more and more of the gross uninhabitance of the area. The ababdoned building plots and vacated summer lidos littering the dense urban growth in areas to the south of Marathon, contrast heavily with the northern coastlines’ undeveloped areas. Consequently since the dwellings are only occupied seasonally, an emphasis of security is also more apparent. Barbed wire fencing, large chains and locks, thick protective walls are not what you imagine seeing around a coastal get-away location. This is the confl ict of the Western coast of Attica; the landscape is beautiful but poorly respected. The mentality of temporary habitation seems short sighted and detrimental to how the coast could be used.
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Experiential plan, section & elevation Experiential plan, section & elevation Experiential plan, section & elevation Experiential plan, section & elevation Experiential plan, section & elevation 35mm photograph 35mm collage
Images 1 - 5 are collages made up of: Marathonas photos of ink in water, ink & salt in milk, Mati silhouettes taken from significant site photos at each Rafina location, grasshopper & elk geo-data for contours & Artemida land masses/outlines Porto Rafti Islands of green, Athens ‘Postcard’ - A snapshot of my first week around Athens, Attica, Peloponnese & islands
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Study abroad. Athens: Land & Water Occupying the site of a former ceramic factory in Nea Makri, the storytelling centre animates a vacant site with a long-term vision. Building upon the Marathon area’s rich heritage - a place of history and legend in Greek culture - the factory supports a diverse range of storytelling approaches, from individual hobbyists through to professional performances. The 80-metre-long kiln room (pictured right) acts as a modern day stoa; forming a crossroads for the connections made in the surrounding important sites of nearby Schinias beach, the Marathon Tomb, Penteli National Park & more, bringing stories from across the landscape together at one node: the factory.
Photos 1 - 5: 35mm interior photos taken of factory building in its current state 1
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Jasmin Liddell
jasminliddell@hotmail.com
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Study abroad. Athens: Land & Water After extensive landscape and site investigations and local research, the shell of a large abandoned porcelain factory was carefully selected in the coastal town of Nea Makri. Not only for its qualities as a building, but also for its proximity to the area’s two arterial roads - the ancient Marathon route & the road over Mt. Penteli to Athens these axes transverse the land from sea to mountain, with the neglected factory as a nodal reference point. My intention was for the restoration and re-purposing of a factory building into an open and dynamic space — a storytelling centre. A connection was made between the stories told in the illustrations on Ancient Greek ceramics and the original function of the building. My architectural proposal for the factory was for a transformation along the lines of old monasteries; accommodation for artists (authors/ceramicists/actors) in residence, small classrooms, library, archives, refectory, ceramics workshops & studios, as well as verbal & literary storytelling facilities. The courtyard space created by the buildings provided an impromptu performance space, and a suitable environment for a market place. The centre for storytelling was ideally located between land and water to develop and branch out into the nearby mountains and coastline, with potential for ‘storytelling bothys’ to develop as writing cabins, studio spaces, amphitheatres & oratories, for both public and private use. This huge, old, industrial building stood like a ghost, the dominating chimney visible for miles — a significant marker, highlighting the sense of abandonment and obsolescence prevalent during recession in Greece. The future for the concrete coastal sprawl along the eastern coast of Attica looks fairly bleak, but there is possible hope for the communities’ future where the centre for storytelling can improve the potential accommodation of new activities and infrastructure, facilitated by the ancient art of storytelling - sharing memories - to link Attican towns’ present & future with their past. By maintaining the rehabilitation and reuse of the factory and its surroundings, the proposal I made in my final presentation aimed to actively contribute to urban, environmental and aesthetic improvements along the East Coast of Attica, in particular Nea Makri. As some of the only available public land along the Marathon route, re-purposing the factory would give residents beautiful and active public space, that will extend past the area’s seasonal beach tourism. The uniqueness of it’s existing and adapted architecture, and the dynamics of its location meant that the connections made throughout the landscape from the factory make it a reference point in the region. 1 2 3 7 4 5 6
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1 - 3 Photos 4 Interior render 5 Exterior render 6 Storytelling Centre plan 7 Location & site plan
CNC-milled chemical wood & dyed resin model of the Bay of Marathonas One of the ‘Storytelling Bothys’ proposed for the small village of Marathonas One of the ‘Storytelling Bothys’ proposed for Mt. Penteli, overlooking the Bay of Marathonas in the distance Proposed plan of new Storytelling Centre, partially restoring & editing the existing factory footprint & structures The Bay of Marathonas, showing historical sites and notable areas or towns etc
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1 - 2 Photos 3 Exterior render 4 Exterior render 5 Interior render 6 Exterior render
Watercolour paper model of proposed Storytelling Centre Aerial overview, looking from the sea over the centre to Mt. Penteli Exits from the galleries into the courtyard created by the footprint of the centre The old kiln room converted into a modern-day storytelling-stoa View from north-east of covered walkway / entrance colonnade
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Study abroad. Athens: Land & Water 1 2
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1 - 2 Photos 3 Exploded structural isometric 4 - 6 Exterior drawings
Watercolour paper model of proposed Storytelling Centre Drawing demonstrating the layers of structure, & the new additions versus the existing renovations Central courtyard space used as a market, created by the footprint of the centre
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35mm Photography. Athens: Land & Water Study trips and site visits around Athens, Attica, Peloponnese & islands 1 Door detail Hydra 2 Light patterns Hydra 3 Evening view Athens 4 Oracle valley Delphi 5 No entry Porto Rafti 6 Harbour entrance Hydra 7 Site seeing Cape Sounion 1 2 3
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MArch1. Mind Matters ‘You are called upon to explore the spaces of your mind as an analogue of space in the city.’ Any idea requires a seed from which it can be developed. In this case, the studio brief required me to map out a journey to ‘find’ an object, lost in abandonment. Then, once located, observe and listen to it, and record my observations — the marks or patina — before removing it from its context. These observations could then be used to construct an architectural proposal or concept as a spatial narrative — considered as a way to understand the observations — a story that can be communicated. The object I ‘found’ was a washing machine. The banal and perhaps repugnant appearance of discarded things frequently concludes in misconceptions and assumed narratives of an object’s unknown origin and backstory — however such narratives often belie a compelling story that must be told. Imaginary or real, the story can be told as a spatial narrative in architecture, in the same way that in the human mind, memory fragments — emotions, visuals, sounds, smells and touch sensations — have spatial quality. The spatial qualities of standing in a particular room, for example, can be remembered. If the mind can be conceived as having spatial quality, and it carries memories of fragmented architectural space, then constructing a narrative analogous to the experience of actual architecture becomes conceivable. If memories are recalled and reordered to present dreams, so can we consciously reorder the memory fragments attributed to an inanimate object — that cannot create its own memories — created when observing its patina. Patina and dirt are closely related. They can be chemically identical, however when understood in the context of function, one is valued above the other. For example a statue green with mould might be attractive, but a mattress in a similar condition might not. Things that have been used and reused, have a story. Such objects accumulate marks, traces, scars and constructions. Layers of accumulated modification of the object amount to knowledge. The oldest layers tend to embody knowledge that is more fragmented. Such knowledge and experience can be regarded as palimpsest. As part of an exploration into the discovery of an undesirable, redundant object; I investigated cultural perceptions of dirt — initiated by the taking apart of a found washing machine. The main task of a washing machine is to make things clean, but what does clean mean, or imply? Architectural palimpsest or patina can be interpreted in much the same way. ‘Use — Reuse — Mis — Abuse — Disuse — Refuse,’ Cedric Price. Price’s attitudes towards time or timing, and dealing with the entire life of a building or structure, are still relevant today. The constraint of believing a building is ‘complete’ or ‘finished,’ and that is has a single purpose or use is far too limiting. We can still see a site as it was prior to construction — and remember the space’s history. The beauty and romance of a ruin is ever inspiring, in view of the fact that buildings in a state of ruin have such a history and back story that appeals to our inquisitive nature. The ways that our infrastructure and architecture are used / reused / disused throughout their lives, is more often than not unfamiliar or surprising — the palimpsest created by the city, it’s users and nature is amazing, and gets ever richer — an ever evolving living phenomenon.
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Architectural palimpsest; Leicester, 2015
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MArch1. Mind Matters Initial mapping to find the object. I looked into areas in Leicester where I knew household items and other such discarded objects are taken. I visited Bridge Road and Freemens Common recycling centres, and Whetstone waste site. In Rhino I mapped the route (paths - lines) I imagined taking to the recycling / waste sites (nodes - spheres). As well as documenting the ‘journey’ to get to the isolation of the metal drum part of the washing machine, I photographed the patina and palimsest built up over its lifetime, as.
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1 - 2 Drawings 3 - 10 35mm photos
Rhino-mapped routes Documenting the jounrey, the patina & the palimsest
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MArch1. Mind Matters 123D Catch of the washing machine drum. 123D Catch is an app that uses photos taken of an object to create and render a 3D object that can be imported into 3D modelling programs. The catches are rarely accurate, and hence usually portray a poor likeness of the original scanned form. As a result I took this distortion as a starting point to work from for an architectural design concept. These meshes were created from several different ‘catches’, which were manipulated & combined in Rhino, then exported to Illustrator for further editing.
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1 - 3 Meshes
Variations of meshes from edits in Rhino & illustrator
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elevation 1:2
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box steel 32mm 3mm wall box steel 32mm 3mm wall bolt 8mm steel tube d10mm h55mm nut d8mm cast aluminum washing machine drum cast aluminum spider
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detail aa 1:1
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bolt washer bushing steel shaft bearing solid steel bearing
8mm d8mm d30mm [cast to spider] D52mm bearing housing D62mm
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plan 1:5 1 2 3 4 5 6 7 8 9 10
box steel 32mm bolt 8mm nut d8mm steel bracket h75mm box steel 60mm solid steel bearing housing cast aluminum washing machine drum cast aluminum spider bearing D52mm steel shaft [cast to spider]
3mm wall w22mm 4mm wall
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Render Plan Elevation Elevation & section
One of the meshes compared to a 3D Rhino model of the actual washing machine drum Plan of the proposed machine to be built from old, edited pieces of the washing machine, & new metal parts I designed & made Elevation of the proposed machine (as above) Smaller scale elevation to show detail of assembled and edited parts of the new machine, and section through the bearing housing I turned from solid steel, enabling the new machine to rotate
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MArch1. Mind Matters Extensive investigative research led me to the concept of dirt in religion: purity & penance (confession). The process of confession enables riddance of ones’ accrued sins, i.e., cleansing oneself. Confession is most prevalent in Christianity, but also appears in Buddhism, Islam and Judaism. Initially I designed and built a ‘machine for cleaning’ — a portable device which could be stood in, and used by anyone who wished for personal, internal & peaceful refl ection. My intention was that the machine could be used to immerse ourselves in, in order to help change our perception of spaces, emotions, people, etc. For instance, looking through perforations of the washing machine drum distorts the view, a misconception of a space could be confessed inwardly from within the machine, enabling the user to view a space in a new way; to create a new discourse about the space; accept and understand it or forgive it for it’s previously portrayed appearance. Allowing the view of reality to be distorted means we can think about reality differently and refl ect upon it inwardly. Psycho-analytic situations are amongst the only times explicitly provided in which we are allowed to talk about the wounds we have suffered, and to search for new ways of talking about ourselves — our desire to be understood and to be forgiven for who we are. Is modern day psychoanalysis equivalent to confession? Consequently, has going to confession been replaced by lying on a therapist’s couch? We have come to appreciate psychoanalysis as a substitute remedy for the former sustenance believed to have been supplied by religion. Religion has taken a back seat over the passing decades: it has either become redundant, or has been replaced by to science. More and more people recognise the need for ‘someone to talk to’ seeking psychoanalysts — previously religion supported communities with possibilities of emotional displacement and / or healing — and hence the need for an architectural narrative which can provide the space for such activities to take place is evident. 1 2 4 3
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1 -2 Collage 3 Render 4 Photo 5 Mesh 6 Collage
Clay render of machine with sketches of people using it Photoshop montage - interpretation of machine in use within a street context Over a few months, the machine began to build up a new patina - the assembled new parts, along with the cleaned, sand blasted old parts, start a new palimpsest of their own. Assembled drawings of meshes Plan of machine as a collage of photographs in its existing state, meshes, & drawings of proposed new machine
jasminliddell@hotmail.com
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MArch1. Mind Matters Through experimentation with the machine and investigation as to its possible application to a space; it inspired a further design, for a more permanent, architectural function in Leicester — used freely to refl ect, think, pray, confess, or dream. Leicester is well-known for being a very culturally diverse city, and so I suggested a multi-faith, humanist ‘confession-space’ as an architectural proposal derived from the washing machine.
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1 - 3 Renders
Confession-spaces - architectural proposals derived from the washing machine Sketches, renders and illustrator edits of the meshes to inform a new space
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35mm Photography. Personal work 1 2 3 4 5 6 1
Rijks Museum interior Duomo butresses Concrete jungle Neues Museum interior Camel train Catedrale de Sevilla interior 2
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Amsterdam, 2016. Milan, 2013. London, 2015. Berlin, 2015. Timanfaya National Park (Lanzarote), 2014. Seville, 2016
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35mm Photography. Personal work 1 2 3 4 5 1
Newari home V&A stairwell Cricket Pitch Taj Mahal Scaffold 2
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Tatopani (Nepal), 2014. London, 2014. Lynton (Devon), 2015. Agra, 2014. Seville, 2016.
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jasminliddell@hotmail.com
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Jasmin Liddell
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35mm Photography. Personal work 1 2 3 4 5
Palazzo Duomo Whitewash Pastel shades Exterior church door detail Alhambra de Granada interior
Jasmin Liddell
Lecce, 2016. Alberobello, 2016. Lecce, 2016. Lecce, 2016. Granada, 2016.
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Digital Photography. Personal work 1 2 3 4 5
Paris Fashion Week Chipperfield door detail Neues Museum colonnade Barbican Centre Neues Museum interior
Jasmin Liddell
Le Louvre, 2011. Berlin, 2012. Berlin, 2012. London, 2013. Berlin, 2012.
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