05
Jack Barnett Vanessa [Wei] Chung Lauren Childs Grey Grierson Jack [John] Mathers Katie [Katarina] Krajciova Kyuri Kim Harrison Long Lingyun [Lynne] Qian Rus [Rusna] Kohli Derek [Chung] Wong Yurou Zhang
Stefan Lengen Gavin Robotham
Nat Chard, Carlos Jimenez Cenamor, Emmanouil Stavrakakis, Frederik Petersen, Lucy Leonard, Catrina Stewart, IďŹ geneia Liangi, Nick Westby, Umut Yamac, Emma-Kate Matthews, Eva Ravnborg
oh hi. this is studio five,
We make up twelve first year architecture students at The Bartlett School of Architecture. First year’s intention is to explore ‘ways of seeing’ and this year has had an underlying ethos. While investigating objects and spaces we have created our very own theoretical architectural practises, creating designs and inhabitable conditions complex enough to increase our knowledge and technical expertise in all built environment aspects. Pushing the boundaries of the architecture of previous generations and experimentally constructing our own architectural languages and agendas that we can carry through into our careers. Tutors:
Gavin Robotham +Stefan Lengen
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Waking up in the dark if you are familiar with the space you are in, your mind can visualise your surroundings. Creating spaces without physically being able to see them, the page to the left explores this. However this quickly changes when we are in an unfamiliar space. Gridded paper represents how our head is trying to categorise its surroundings, speculating where objects go from previous experiences. The right image is a blurred drawing of my unfamiliar surroundings as my head does not know exactly where objects begin and end.
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The movements in the space of a shower are shamelessly overlaying one another, using another same spot, following the same sequence, being surrounded by the same walls, falling into routine. No one enjoys them being anymore, they are not natural because the conditions in which we need to perform them are not natural. Why do we even use those cubicles?
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As an international student, travelling is a routine for me. My interest in the process of how we behave, our mood change when we start to pay attention to the surroundings which we visually unnoticed in a familiar space- Victoria Train station. Two characters were introduced to the process of looking for someone in the crowd and a story about meet and miss were made and ďŹ lmed.
As a dancer, I am always intrigued by how humans travel through space and how our body react to a certain environment. This has inspired me to explore the experience of how I jump across a studio space and train. In the drawings I wanted to include all ďŹ ve senses: visual, auditory, tactile, olfactory and gustatory.
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The relationship between the space our bodies and the space clothes occupy interest me, clothes take up such small amounts of space relative to when they are being worn. How does the variation of gravity and buoyancy underwater change the appearances of the shirt, the movement of my body and the time of wearing a shirt?
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Drawing Instruments
The materials that are used and the processes employed to form and assemble architecture are related to its content – there is a connection between idea and technique. To discuss an idea and tease out the depth of its possibility the architect draws. Just with making architecture, the media that are employed to make a drawing influence the development of the content and its realisation. In both drawing and building, having control of one’s medium has a strong influence on the quality of the work. By creating our own drawing instructions we gained an understanding of the relationship between idea, instrument and the facility to work with the tool. This was also complimented through taking on collaborations as usually architectural education is undertaken as an individual.
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WAXING Grey Grierson
We produced a drawing tool that investigated the We produced a drawing tool that investigated concept of drawing shadows. Through a performance the concept of drawing shadows. Through a in candle light the user can melt through layers of wax performance in candle light the user can melt where the shadow lies forming a negative shape which through layers of wax where the shadow lies is then cast to leave a shadow that is three dimensional.
forming a negative shape which is then cast to leave a shadow that is three dimensional.
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The tool explored exploredseveral severalthemes themesincluding including cooking, smell, and The drawing drawing tool cooking, SMELL memory. the smells produced can be evocative and have the smell, andCooking memory.and Cooking and the smells produced can Lauren Childs ability to involuntarily memories. The drawing be evocative and havereveal the ability to involuntarily revealtool provides a sensorial Jack various Mathers experience for the user because one smells particular foods through memories. The drawing tool provides a sensorial experience oils anduser simultaneously inks foods produced through cooking for the because onedraws smellsusing particular through techniques. Thissimultaneously provides the user with a new experience because the various oils and draws using inksdrawing produced sensory aspects techniques. of the tool have implications for the drawing. through cooking This provides the user with a new drawing experience because the sensory aspects of the tool have implications for the drawing.
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COLOUR Lingyun Qian
The Colour Isolator is a tool to help architects test improvisational animations on different scenes based on the principle of colour subtraction of colour filters and projector. When people walk through the tunnel, wearing the colour isolator glasses, different parts of the slides show in different colours. Therefore, they view the whole story hidden behind the slides.
When people walk through tunnel, wearing the colour isolator glasses, different parts of the
HORIZONS Yurou Zhang
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The drawing tool allows us to observe surrounding from three different angles, we uses the theme of animal game to introduce three characters: giraffe, mouse and human, which means the observer can use the drawing tool to get bird-eye view, worm-eye view and human-eye view. As the result, the drawing tool is called Three Horizons, it not only helps observers to get the detail observation, but also inspires them to see things differently.
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SKIN Derek Wong Rus Kohli We wanted to create a tool that mapped body movement and helped you in the drawing process by using your own body to do things like measure and draw curves. I focused on the skin suit and measuring aspect as I felt when at a site for example and you want to roughly measure something it’s much easier to use your own body measurements.
Heaven is the name graffiti artists call a surface that is hard to reach and that is very visible to the public. We wanted to see if we could draw on these surfaces. We constructed a device that enables us to draw in glow in the dark, therefore we could create graffiti in the dark and be able to see it.
HEAVEN Kyuri Kim
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MATCH MAKER Vanessa Chung
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Heartbeat is a fundamental but an important indication of human reaction. The pumping of the small and delicate movement resembles the vibration of feathers. Therefore, we extended this idea and use it as a poetic metaphor. The device converts heartbeats to the movement of feathers to create drawings. The drawing indicates the true reaction of the user in respond to the person sitting in front of them.
LIGHT MAPPER Jack Barnett
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Architects inherently work with the unseen, playing with elements such as light, moisture, sound and wind but how do we get these un-drawable things? This device utilities sensors and a simple code that translates light intensities into kinetic movement to create drawings that are altered by the conditions drawn within.
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The Objector tool projects a chosen model through two lenses sitting inside two addaptable bellows on a glass table covered in dark, creating two separate projections of the objwect in the real time. Lets shift the responsibility of answering the hardest question: „what is the added value of the art?“ on a credible person, such as Picasso, who’s art style can be now addapted by anyone drawing through the lenses of this machine.
OBJECTOR Katie Krajciova Harrison Long
Madrid Trip
Visiting Madrid exposed us to and started discussions on how Madrilenian architects have changed their architectural work and design practises during the previous years. Multiple things became apparent; ďŹ rst the shift in public space from the selfbuilt and self-managed, second how the public space is sponsored by the private company funding and third how the architects embraced the economic crisis as an opportunity for development, incorporated in their design ethos and how this inuenced their clients/users in times of economic constraints.
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FIELD TRIP
FIELD TRIP
Building Project
Our very ďŹ rst architectural expedition where we created buildings under client, site and program requirements and constraints. Based along Regent’s Canal in London we used our drawing devices as a way to document our site to begin with before researching into our program and client needs. Then the speculation and manifestation of our architectural languages happened.
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PAPER MAKING WORKSHOP Kyuri Kim Paper making workshop run by a small Japanese lady whose daily routine involves bathing. The first investigation was into how paper was made, researching and making my own gave me ideas of how the techniques involved could physically form parts of my architecture. Having spaces in the walls that are exposed to the exterior prevailing wind where paper could be stored to dry. There are also secret spaces between the walls where my client can observe students making paper without them realising to see if they’ve learnt correctly. This principle is also applied to where she lives under the staircase.
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Urban Foragers Guild Harrison Long
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A building constructed in a situationist manner. Providing spaces for both a tannery and a public kitchen which encourages the use of foraged plants. Living space is also provided for the four residents who work within the building. The structure and materiality are informed by the processes and experiences which occur within the building and on site.
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Joe’s Water Purification Plant, a public open air swimming pool which is surrounded by Joe’s Water Purification Plant, a public open air swimming pool which is surrounded by three three vessels that utilise a water purification process to form the architecture itself. Algae vessels that utilise a water purification process to form the architecture itself. Algae tubes tubes form the walls of the changing room, the fertilised tubes are opaque and can be form the walls of the changing room, the fertilised tubes are opaque and can be drained to drained to become transparent again. ThisJoe enables Joe alter of thethe views thecanal poolfrom and become transparent again. This enables to alter thetoviews pool of and canal from the changing room tower, so it can become a life guard tower for the pool. the changing room tower, so it can become a life guard tower for the pool. Other stagesOthof er stagesthe of the purification spacial conditions and experiences in the vessels. purification formform otherother spacial conditions and experiences in the vessels.
WATER PURIFICATION PLANT Jack Barnett EVNS 1009
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PHOTOGRAPHER’S SECRET WORLD Derek Wong Project Client James is a 35 years old single man and he used to be a very professional press photographer. He is sick of have his photos getting censored and hidden by the publisher and he would like to have his own gallery exhibiting those censored photos. His good observation and tracking skills after years of experience as a press photographer, has been discovered and being offered a new exciting secret occupation — spy. The design of the gallery space is mainly playing with perspective and the outlook is inspired by the old fashion camera. A concrete wall is in a “double-L” intersecting with the gallery but also smartly hidden from the public. People visiting the gallery wouldn’t know that there are secret spy gears and activities inside the concrete wall.
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The building is formed around my experiments in to the world of molten liquid. A master glass blower works with a young couple in a workshop surround by an amphitheatre. A chimney draws the hot air out of the building and acts as structural support for the living spaces that seem to grow like barnacles from the core of the building. EVNS 1009
GLASS BLOWING WORKSHOP Grey Grierson
BAKERY HOUSE Yurou Zhang
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Project client who is a traditional British baker requests a bakery house that allows him to use the traditional oven in the kitchen area, therefore, the thermal comfort is going to be the main target of the construction of the building. Furthermore, the client wants a clear relationship between the private area and the public area; in this case, he wants his living space to be private, and to open the cafĂŠ deck, kitchen area, and the footbridge to the public. As the result, the relationships between the light and space, the private and public are important as well.
MUSIC-JAMMING COMMONROOM Katie Krajciova
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The very informal concert hall is run by a young couple Emma and Bryn. Only few months ago Emma was a violin player in London Philharmonic Orchestra. Now she is the heart and the brain of the jamming room, a musical playground where every stair is a stage and every seat stores or is itself an instrument. The instruments avilable in the jamming room come mostly from the workshop downstairs run by Bryn. Bryn used to be a carpenter. Now he passionately shares all the skills and knowledge he’s got to activate the local comunity through crafting, and all that is happening right under and around the jamming room, so that the outcome of their creations can be heard in the background.
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An silk repairer, recently moved to the UK from rural China, requires a building for himself and his silk-worm farm. The site is a shadowy space under a railway viaduct with unusual changing light conditions. The building’s tapered floor plates, clerestory windows and double height spaces carefully manipulate these conditions for the tailor and his silk farm’s needs. A hanging walkway under the viaduct connects the site to the towpath opposite.
SILK - WORM FARM Jack Mathers EVNS 1009
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The client know very few people in the area and have decided to create a space within their new home for the community. Due to their previous jobs they both have a particular affinity towards visual and crafted items. Consequently, the community space is to be a printing workshop. The underlying idea is that everything is stubbornly archaic. The older members of the community will be invited to participate to create prints, which reflect on their lives, for example by visually exploring their memories. This will be a social space that will bring a sense of purpose and fulfilment to those who use it. The building is primarily concrete and contains wooden spaces that are crafted in the ‘spirit’ of embossing, a printing process.
PRINTING WORKSHOP Lauren Childs
A Russian immigrant Mr.Boxer (name quote from book Animal Farm) who is a mushroom factory owner and his son Little Boxer who is a bargee move to this brave new land with their dreams of communist agricultural spaces. The factory and allotment run every 28 days from collecting used coffee grounds as mushroom peat to cultivated mushroom in the allotment for the public. The factory underground is cast in concrete while the allotment overground is made of fibre glass which is noctilucous at night. Techique of modular Origami is used to interlocking the allotment and real Oyster mushroom was grown to study the process.
MUSHROOM ALLOTMENT AND FACTORY Lingyun Qian
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Thank you:) Studio
5
Edited by Jack Barnett +Lingyun Qian
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