Cascade Reflective Report by MEGibson1993

CASCADE Reflective Report

Megan Gibson

May 2015

Feasibility Stage 2 Initial Models Model created at concept stage

3 Concept Models Sketches and development drawings

4 Concept Imagery Project intentions and plan used to achieve them

5 Concept Sketches Raison d’être.: statement of intention used to pursue through design

7 Aims & Objectives Project intentions and plan used to achieve them

8 Design Rationale Raison d’être.: statement of intention used to pursue through design

Complete Design Stage 10 Initial Sketches 11 Initial Modelling 13 Spatial Planning 18 Exploring the Influence of Senses 19 Journey throughout the Interior 20 Geographic Influence & Context 21 Final Concept: Abyss 22 Final Concept: Haptic 23 Final Concept: Echelon 24 Summary of Complete Design Stage

Technical Detailing Stage 26 27 29 30

Materials Joints & Construction Detail Drawings Summary of Technical Detailing Stage

Contents Full Design Scheme 32 33 37 42 48 49 50 51 52 53 54 57 58 62

Mood Board Abyss Haptic Echelon Location Plan First Floor Plan Second Floor Plan Third Floor Plan Sections Elevations Lighting Plans Plumbing Plan Details of Cluster Seating Summary of Full Design Scheme

Bibliography 63 Image References Sources of images used throughout report

64 Bibliography Sources used to construct report

Feasibility Stage Inspiration Model Concept Model Concept Sketches Concept Imagery Design Outline Aims & Objectives Design Rationale

Initial Models

Discovering this sculpture was cataclysmic for the modelling process as I found it incredibly striking and beautiful. Even more so when I discovered it was also made of paper. The undulating pleats almost capture a moment in time which is something I wanted to create within the interior; a series of evocative moments stopped in time integrated within the sensory restaurant. This simple beauty encouraged me to recreate more forms from paper which ultimately led to the concept model. As an unconfident model maker I began simply folding A4 paper to create different shapes and patterns â&#x20AC;&#x201C; and was subsequently impressed with the outcome. The smaller images shown demonstrate my first attempts and immediately I was captured by the light and shadows cast from the models. This became the starting point of my project.

1.1 Paper sculpture

1.2 Initial Model 1

1.3 Initial Model 2

1.4 Initial Model 3

Concept Models

1.5 Concept Model 1

1.6 Concept Model 2

1.7 Concept Model 3

The models shown illustrate the variety of paper folding techniques and forms that I created to develop this concept into my design. These were some of the more successful models that I created; by exploring the various folds, pleats and techniques I gained a sound understanding of how the different outcomes could be manipulated in order to refine earlier models. This is something that I brought forward into the more complicated designs such as the parabola (top left). I found the terse geometry of the pleats juxtaposed with the sweeping curvature really inspiring and thought it would be really exciting to integrate into Cascade. However I do wish that I allowed for more time to refine my paper modelling skills even further as some of the images show irregularities in the pleating and others even look crumpled which was a shame. By reattempting to make the models I could have tested a larger paper weight so as to determine a sturdier model that was less likely to crumple and damage or show pencil markings. Overall however I was very pleased with these experiments and think the contrasting lighting creates an interesting effect. 1.8 Concept Model 4

1.9 Concept Model 5

Concept Imagery

1.10 Mood Image 1

1.11 Mood Image 2

1.12 Mood Image 3

1.13 Mood Image 4

1.14 Mood Image 5

1.15 Mood Image 6

Following on from my modelling experiments, I began to explore imagery that evoked an emotional response. This is something I believed to be integral to successfully developing a sensory restaurant as how the guest reacts within the environment is essential to the interiorâ&#x20AC;&#x2122;s success. These were a collection of images that I found evocative, emotive and sensual which led to them being included in my initial mood board. For example, the smooth billow of smoke: the cool crash of waves washing over your feet: the sharp licks of a bonfire: or the slow emergence of ink within water â&#x20AC;&#x201C; all tapping into the nostalgic core of the brain. The basic notion that you do not necessarily have to touch these images to know how they feel or smell of sound- your senses are so powerful they can transport you there. Recreating those feelings was something I strived to achieve with Cascade.

Concept Sketches

1.16 Sketch 1

1.17 Sketch 2

My research and exploration for and through design thus far summarised in these concept sketches. I began to play with how these big ideas could translate into my expansive interior. One of the main reasons I was so drawn to my building was the expansive atrium and original barrel vault and I wanted that to take centre stage in the project as well. The section sketches portray the initial ideas to incorporate the water and the multi height atrium; it was always imperative for me to incorporate water into the scheme not only as it relates to the elemental concept I discussed earlier but the integral part water has played in Liverpudlian history. Thus it seemed only natural to create a waterfall throughout the spaces which would evoke a strong emotional and sensory reaction for all guests.

Within the waterfall image there are various formations that can be seen, this was an idea that took inspiration from the geometric concept models I created. The sketches on this page show some drawings experimenting with light and shade on the forms and how this can be integrated into the water feature. I thought the effects on various materials from both the water and natural light coming in from the barrel vault could be really interesting. This idea led to the incorporation of Cisca Collinsâ&#x20AC;&#x2122; ceramic installation in my work.

1.19 Atrium Sketch

1.18 Section Sketch

Concept Sketches From there I looked into creating different zones for eating and drinking guests. For example embellishing the overhead and wall space to create an alternative environment that can be experienced as an extension of the main space with what appears to be a pergola or a raised garden seating platform. This would almost transport the guests to nostalgic days of garden parties or a summer BBQ and by playing with somatic and audial elements to enhance this further through temperature etc. I experimented with methods of alternating the floor level to initiate different use of the space. Further to this and to elaborate the rawness of Echelonâ&#x20AC;&#x2122;s style I looked to create rock formations as booth seating â&#x20AC;&#x201C; to bring a more intimate and enclosed bar atmosphere which relates back to the sensory element of rock pools and the use of natural materials.

1.21 Sketch 4

Whilst contemplating the rawness of materials I was also intent on capturing a moment within my interior as shown on the concept imagery. I wanted to design a piece that would make my interior memorable and, again thinking of the core theme of water, I thought of a body of water bursting through the length of the wall and capturing that precise moment. This was another poignant part of my design process as I began to investigate installation art further.

1.20 Sketch 3

1.22 Installation

Aims & Objectives

Aims

• To create a stimulating, unique dining experience that defies the boundaries of existing restaurant experiences through exploiting the various human senses • To design a concept that is powerful and innovative; to evolve into a destination space for a curious and contemporary user • To manipulate technology into the traditional dining environment so that it enhances and develops a new experience unlike any other offered locally • To utilise the pioneering setting as a backdrop for exciting and enriching apprenticeship schemes for young people to develop sufficient and appropriate skills from the working environment • To regenerate a derelict building into its former glory acting as a catalyst for building regeneration in the city of Liverpool

Objectives

• To analyse the current post-18 job prospect opportunities available to those whom do not wish to go to University, subsequently proposing a new structure to create jobs, skills and improve prospects • To research the effects of exploiting the five human senses and how these relate to our perception and interaction when dining, ultimately defining how and what makes a dining experience? • To identify and analyse the current trends in restaurant design, further to this how much of a role does technology play in the future of dining? • To distinguish the target demographic for a new style of eating out through market research, questionnaires and location specific data

Design Rationale

The adaptive reuse and regeneration of those communities, who suffered during the economic downfall, will provide a monumental improvement to the livelihoods and locality of such areas. Furthermore the restoration of a former architectural gem amongst the cityâ&#x20AC;&#x2122;s most flourishing districts will actively promote the rejuvenation of Liverpool. The foremost intention of this restaurant is to exemplify to entrepreneurial creative what the North can achieve. Through the exploration of the human sensory reaction when eating, this new proposed restaurant will endeavour to enhance not only the lives of those employed and educated through it, but the local population who will use it. As a platform for youths to gain valuable skills and secure a sustainable income that will help boost local economy and create a sense of local pride.

1.23 Water

1.24 Fire

1.25 Smoke

1.26 Ink

By employing, constructing, sourcing food and talent locally it will emphasise the importance for provenance and community worth.

Complete Design Stage Initial Modelling Initial Sketches Spatial Planning Exploring the Influence of Senses Journey Through the Interior Geographic Influence & Context Developed Modelling Exploring Bespoke Fittings & Furniture Final Concept: Abyss Final Concept: Haptic Final Concept: Echelon Final Plans Summary of Complete Design Stage

Initial Models

2.1 Model 1

2.2 Model 2

2.3 Model 3

2.4 Model 4

2.5 Model 5

2.6 Model 6

I continued my concept model making throughout the complete design stage process to ensure that I had a bank of forms and shapes to refer back to when developing the design further. This helped my design massively as all three interiors are so different I was able to incorporate different elements or whole models if and when needed. The models above are some of those that I created. I also took note of feedback and my personal criticisms from feasibility stage and ensured these were crisper and had a more professional look whilst not sacrificing the complexity of the folds and designs. These models were carried forward into seating, bar design and other fixtures.

Initial Sketches First of all I wanted to create a beautiful bespoke piece of furniture using the models and the first one I designed actually became my favourite and the one that I used in Haptic. I took inspiration from the star parabola â&#x20AC;&#x201C; shown on the page before- and very quickly was able to experiment with the form and visualise a feasible seating arrangement. This developed seamlessly into a clustered seating module that had four tables of four. I worked with the made the actual seating more modular than the model itself but retained the angular geometric aspect by merging it into the upholstered fixed seating. By making the cluster modular it also made it easier to introduce to the space itself and concealed some of the existing columns.

From the cluster seating I was able to take that further and designed bench seating to respect and unite with the seating elsewhere in the restaurant. I then proceeded to use other models from the collection to experiment with secluded booth seating. As previously discussed I was interested in using a variety of environments that would enable the restaurant to explore different sensual experiences through the food â&#x20AC;&#x201C; previously I discussed a pergola- this summarised itself in a geometrically cladded wall that environed individual tables. They seemed a natural choice to use sound deflecting technology so that diners in these areas were able to only hear their own conversations and sea side audios could be played discreetly to add to the ambience. The use of faceted ceiling and wall panels was seamlessly blended with both materials and technology. A similar concept was used to sketch both bars.

2.9 Seating Plan

2.7 Seating

2.8 Seating Sketch

Initial Sketches

2.10 Haptic Booth 1 2.11 Haptic Booth 2

I feel that the use of the models to develop a truly organic and bespoke design was crucial to its success and I am pleased with the results. I do however wish that I could have spent more time refining these little elements of bespoke modelling during this design process to elaborate them further and not just use them simply in their original form similar to the cluster seating. I am by far most proud of that seating as I can see the transition from model to final element through problem solving and assessing the feasibility â&#x20AC;&#x201C; I wish I could have done the same for all modelled pieces. 2.12 Echelon Bar

Spatial Planning

2.13 Abyss Plan 1

The key to creating an interior that captured all my ideas as well as serving its purpose was through the spatial planning of such a huge space. The building was beautiful even in its derelict, forgotten state; I was completely transfixed by it as soon as I walked in and this emotion was something I have tried to replicate through the design. The sense of amazement and striking architectural beauty I felt was crucial to the success of the restaurants. I began by allocating each floor to a different sense or use and initially toyed with an idea of heaven and hell as the lower floor was so dark and concealed whereas the upper floors were bathed in light from the barrel vault. Later deciding this was too clichĂŠd and explored other options which predominantly used the dramatic light differences to enhance the design rather than restrict it in terms of identity and branding. This ultimately led to the lower floor for sight, second for tactile and audial exploration and top floor became for the bar. For the lower floor, I began by centralising the kitchen to enable all of the encompassing tables to be witness to the fantastical cooking that would take place. Few, large round tables would encourage parties of a whole range of numbers to congregate and experience this socially explicit environment together. As a natural human reaction, when fearful, confused or experiencing something new in general we become socially freer and interact with those nearby as they understand the strangeness of the situation. This restaurant I envisaged as an elite restaurant that has a restricted number of seats with a set menu, the more expensive choice at around ÂŁ150 per head.

2.14 Abyss Plan 2

Spatial Planning

2.15 Haptic Plan 1

On the contrary for the second central restaurant I worked on creating something just as elegant and stylish but more accessible that could host larger numbers. It was immediately apparent that I had to embrace the asymmetrical shape, existing columns and accommodate the balcony that overlooks the interior atrium. Unlike the lower restaurant the kitchen could not be situated in the same central position to elaborate the cooking of the spectacular food, alternatively I used the footprint of the building’s existing toilets and kitchenette to create an architectural glacial surround for the kitchen. This meant that guests could still see the food but the kitchen did not consume much of the dining space which would, in reality, be a loss of profit. An added benefit of this location was that there were existing services – lighting, electrical, plumbing etc. – from the previous toilets. The two alcoves to the west of the building house the booth seating and the bar, once again avoiding eating into the restricted central space. Larger fitted cluster and coordinating benches create a dynamic seating that accommodates a range of party sizes and various styles of dining. Standard tables and chairs are placed throughout the remainder of the restaurant that are not fixed – this allows the restaurant to manipulate the table numbers to seat various table sizes and larger bookings.

2.16 Haptic Plan 2

Spatial Planning

2.17 Echelon Plan 1

2.18 Echelon Plan 2

With regards to Echelon the bar to the top of the building, its purpose was simple: an enigmatic, luxurious drinking space that was just as exciting as the other restaurants. The first thing I instated was replacing the barrel vault’s steel roof with glazing as was built originally in 1906 allowing the immense amount of natural light into the building. This in itself created a striking interior so to elaborate the intricate detail on the vault ends I positioned the bar here so that guests can observe as they wait for their drinks. The same two alcoves that house the downstairs bar and booth seating are repeated in the upstairs footprint of the bar, however upstairs two water lounges conceal Moroccan lounge seating for a more intimate drinking experience. Water cascades from the ceiling over a raised floor level which further determines the space for guests. In contrast to the seating on the lower floor, Echelon boasts rich, woven textures such as velvets and silks with deep padding for utmost comfort- more sofas and armchairs with higher backs to relax in with the extravagant effervescing drinks. On the opposing wall of the water lounges the space is largely consumed by an installation piece that creates the drama that initially captured my inspiration. The installation crashes over the furniture integrating itself into the working interior which includes the sofas and tables creating an illusion of a moment in time. My final adjustment was to widen the balcony over the atrium allow more light to pour into the lower restaurant and emphasise the extravagant interior feature. In terms of the spatial planning of the space I am overall very pleased. I believe the interior to be fit for purpose and would in reality act as a successful restaurant. I thoroughly enjoyed experimenting with the planning of the interior as it was on such a large scale. My only regret is that I did not fully incorporate the front office spaces to the narrower end of the building despite allocating them to ‘auxiliary space’. I envisaged the rooms as office or training spaces to fulfil the secondary purpose of Cascade; to educate the local unemployed youth. Whilst these spaces were not integral to the ‘front of house’ element to my design they are a large part of the project’s ethos and therefore should have been acknowledged to a certain extent.

Exploring the Influence of Senses

Aural

Visual

2.19 Ear

2.21 Eye

Somatic

Olfactory

Gustation

2.23 Hand

2.20 Nose

2.22 Mouth

Originally I thought of designing a multisensory restaurant as I was interested in molecular gastronomy yet unfortunately most of the restaurants (The Fat Duck in particular) served the most amazing food with incredibly scientific processes; but this extravagance had not yet reached the spaces in which they were served. This was in many ways the catalyst for my project and a problem I aimed to solve thereafter. After investigating each sense and brain storming how each one could be manipulated through physical space I arrived at my first ideas. One of my immediate and initial reactions was to adjust visual perceptions of food through darkness; an idea that later became titled Abyss. I found that a large percentage of what we anticipate taste to be was affected by what we see visually thus to enable guests to fully appreciate food and experience unchartered dining methods I created a restaurant that enabled diners to tap into this. I also discovered that your experience of senses differs depending on gender, age, ethnicity and many other factors which means that no two people will experience the same thing whilst at Cascade. Further to this through features such as audio booth seating guests can be subconsciously encouraged to not only think that the seafood is saltier but also make them stay longer and adjust the speed at which they eat. These are all philosophies that I strived to incorporate into the design through features such as the water fall to emulate the sound of a crashing wave, the water lounges to create the sense of serene water cascading, the various installations that allow each individual to interpret their surroundings and many more.

Designing with the five senses in mind proved more difficult than I originally anticipated. Without a profound scientific or psychological knowledge of the various processes I had to rely heavily on my initial and developed research. My design knowledge was helpful in terms of selecting materials and spatially interpreting my findings but I found it difficult to initially think up some more original ideas. Haptic restaurant is where I struggled most with adding sensory aspects; in comparison to Abyss and Echelon which are both quite striking and statement interiors, Haptic feels a bit lost. I think itâ&#x20AC;&#x2122;s largely down to the fact that it elaborates mostly upon somatic and audial senses thus hard to convey through visuals without writing.

Journey Through the Interior

Another poignant element of my spatial planning was the guests’ journey through the interior of Cascade. Upon entering through the artistic installation space guests are ushered into the lift which carries them to the bar, Echelon. There they can enjoy pre-dinner drinks, read menus or await the arrival of other guests before ‘cascading’ down through the building to the respective restaurant for their meal. This again was a further notable element of the design’s meaning through the literal movement of footfall in the restaurants. The manipulation of visitors through the interior is a discreet design element that I particularly like. In terms of creating a destination restaurant I feel that alongside the sensory and artistic elements this also determines the restaurant’s position as a memorable experience. To accompany the lift, a coiling staircase winds from first to third floor which adds to the drama. Once again, the staircase does not feature in my visuals and is something I regrettably did not incorporate into my visuals to emphasise this movement.

2.24 Axonometric Flow Through Space

Geographic Influence & Context

The geographic location of the State Insurance Building, Liverpool is significant to both of Cascade’s purposes. First and foremost in terms of aiding the local community to lower the youth unemployment rate which is particularly high in Liverpool. The restaurant aims to improve social cohesion, reduce crime and poverty, improve mental wellbeing and increase human capital. All great contributions to the local economy and community by highlighting that something needs to be addressed in modern day England. This was very much a driving force behind my project as well as inspiring as it is a very simple principle that could potentially be deployed in any city in the United Kingdom outside of London. Subsequent to extensive research into government unemployment figures and market research it seemed imperative to create a destination restaurant to support anywhere that was not London. Promotional and a structured employment program is hypothetically in place to enable employees to not only be educated through the institute but to secure long-term employment afterwards. They are able to gain invaluable experience whilst on the job to support their studies consequently providing vocational education – of which there is a great demand for in the country – and therefore a useful alternative to a university education.

On the contrary Liverpool was incredibly pertinent in relation to the design scheme of Cascade. Most obviously with the choice of a seafood restaurant as Liverpool is located so close to the sea and infamous for its prolific shipping history. This seafood reference continues through the installation of water through its many forms within the interior: the pool, the water curtains, the installation and indeed the waterfall. This was an informed design decision not only to support the sensorial stimulation but to inherently reflect the geographical location of Cascade. In light of these points I feel that the incorporation of the location and context into the interior has been tactful and supportive in terms of both design and philosophy. I think that the both aspects are particularly powerful branding which would be really transferable should the concept be realised in another city to manifest the same social benefits.

2.25 Liver Building

Abyss

2.26 Abyss Sketch

The final concept for Abyss reflected the aim of the restaurant. It creates a sense of prestige with its secluded and restricted seating which adds to the allure of the mysterious design. Itâ&#x20AC;&#x2122;s minimal yet quality materials contribute to the density of the darkness created within the interior making it even more alluring to guests whom will be paying premium to experience this majestic dining experience. I was keen to incorporate a synchronisation with the other interiors which led to the design of a glass ceiling above the kitchen. Although light would struggle to surpass the glass, the material itself will create exciting and rhythmic dances

from the water above when it collides with the dramatic stage-like lighting in Abyss. Creating a drama within the restaurant was crucial to its success; not only in order to make visualisations easier but to ensure that the experience would be notable for guests whilst they dined and after. To gain â&#x20AC;&#x2DC;destination restaurantâ&#x20AC;&#x2122; status the interior had to make such an impression that guests would not only return, but travel a great distance to return.

Whilst pleased with the design outcome of Abyss I feel that it could easily be misconstrued. I love the darkness and the connotations that come with its name: Abyss. It denotes the intensity of the darkness, the unknown and the fear that comes with it. It is tapping into these unusual emotions that unlock the heightened emotional response that will make Abyss a successful restaurant. It was unfortunately difficult to visualise and convey this scheme as seen in some of the visuals. Especially with regards to printing as I had to adjust the CYMK on screen to ensure that when printed the entire visual was not completely lost.

Haptic

Haptic is a really exciting new approach to dining interiors. I like to think of the space as the future of hospitality environments where sensorial stimulation is exploited in order to manipulate the user’s use of the space whether that be to enjoy the food more, refer friends and families to visit and even spend more money – all of which are crucial to the success of any restaurant. The cool and fresh colour scheme reflects the interior’s intrinsic link with the element of water through blues, pale greens and dark timber. A favourite element of Haptic is the bespoke cluster and bench seating as the designs were initially conceived through paper concept models and developed through to technical detailing stage. Not only are they functional and fit for purpose but beautiful, fitting seamlessly into the interior even concealing existing columns. Something that was also important when creating Haptic’s scheme was ensuring that the same drama and performance element of Abyss’ kitchen was recreated in the higher restaurant. One of the pivotal elements of the design’s ethos was to highlight the provenance of the ingredients used to create the exciting dishes thus it seems natural to reiterate this through allowing guests to observe their fresh ingredients transforming into the molecular gastronomy.

2.27 Haptic Sketch 1

2.28 Haptic Sketch 2

2.29 Haptic Sketch 3

Echelon

2.30 Echelon Sketch

Echelon very quickly became my favourite interior out of the Cascade trio. I feel it was immensely efficacious mainly because it played on the design of senses rather than Haptic and Abyss which explore the senses through food and product. The installation along the east wall is especially amazing: it alludes to a torrent of water bursting through the windows and colliding with the furniture within the interior. This undoubtedly would be a memorable aspect of the interior which, in reality, would be appreciated by all guests as they have travel through the bar before dining. I feel that Echelon is more daring in its design furthermore through aspects such as the water curtains and endeavouring to create a more intense variety of auras for diners to experience: whether that be through the serene intimacy of the water lounges, the expansive drama of the installation contrasted with a view of the barrel vault or the cataract of the waterfall over the widened atrium. Everything about the interior is divine and blissful as if one were to be drinking in the clouds completely unaware of the bustling city centre surrounding the entire building. More so I believe the excitement of these elements are channelled really well through the visuals far more successfully than Haptic and Abyss.

Summary

I believe the complete design stage was a success in terms of achieving my design goals. I believe the interiors I have created would not only frame the molecular gastronomy served but also raise awareness of and support the youth unemployment problems within Liverpool. The two elements of the design seamlessly blend and work in correlation to support both the front of house and the ethos of Cascade. Developing from the feasibility stage I had a solid foundation to go forth and experiment with in order to achieve my design rationale. Both restaurants were key to emphasising the fantastical food and this was definitely achieved through exploring how senses can be manipulated through interior design, predominantly through somatic, audial and olfactory methods. On the contrary I do wish I had explored deeper into how the interior could exploit the dinersâ&#x20AC;&#x2122; sensual activity whilst dining or drinking at Cascade to add an extra element of originality. Replacing the glazing on the barrel vault was a poignant architectural change as it opened up the atrium and allowed light to pour in throughout the interior which adds to the spectacle. Further to this I feel that I overlooked the auxiliary space where the educational aspect of the scheme takes place. I simply marked on the plans the spaceâ&#x20AC;&#x2122;s use instead of designing them and cementing their importance within the project. It would have been equally as exciting to research the optimum temperatures of human productivity, how to improve social cohesion and prevent crime in Liverpool as it was to create the three main interiors. I would also have been able to include visuals from the intricate detailing of the tracery to the front of the building which would have been really strong.

Technical Detailing Stage Materials Joints & Construction Square Schematics & Ergonomics Summary of Technical Detailing Stage

Materials Oak Veneers A renewable, sustainable product, wood veneers offer environmental advantages over other materials and can be an affordable alternative - and potentially more dimensionally stable option to solid timber - in certain applications. As designers and owners become increasingly aware of the carbon cost of materials, the appeal of veneer will increase. As a wood product, veneer stores carbon and also maximises the use of harvested wood. From the clean lines and consistency of contemporary reconstructed veneer to the traditional individuality of wood grain patterns – there’s a veneer to suit every application.

3.1 Veneer Wall 1

3.2 Veneer & Copper

Whether you choose the traditional beauty of naturally grained veneer or the designer appeal of dyed veneers, there’s a colour palette to enhance every design. To see some examples, please go to the Uniquely Veneer section of this site or the web sites of veneer suppliers. Many applications that use wood veneer are simply not possible or practical using solid wood. Expansion and contraction owing to changes in temperature and humidity preclude the use of solid wood in many patterns and designs that can be created with veneers. Marquetry and other patterning applications are impractical, if not impossible, to create with solid wood.

3.3 Veneer Wall 2

3.4 Jane Seating

Using a veneer instead of solid wood was a conscious choice for my design. I believe that the same beautiful results could be achieved in a much more sustainable and cheaper way through using a plywood former finished with a black painted oak veneer. Reading the information above reinforced this notion and raised further comments as to why it is the better option; carbon footprint reduction and allowing for easier design solution.

Joints & Construction Cross Half-Lap Joint Another simple joint is the half-lap joint. This requires the removal of stock to exactly half of the overall thickness of the piece, in order that a similar piece can mate with it. This technique is also used in the cross-halving joint (see later). The cross-halving joint is another form of half-lap, but used where one piece of stock crosses another, in order to retain the same dimension. These joints are often used in braces, especially where stretchers cross over. If accurately constructed, this is an extremely strong joint. Cross-halving joints can also be used in trellis construction, making box compartment dividers and as the bracing ribs of a torsion box. 3.5 Cross Half-Lap Joint

The halving joint has good glue surface area and will resist side forces if accurately made with tight tolerances. To reinforce the plain joint, biscuits or splines are often used (the spline being trimmed after the glue has cured).

Mitred Joint The simplest joint that requires any form of cutting is a mitre joint - in effect this is an angled butt joint, usually relying on glue alone to construct it. It requires accurate 45째 cutting, however, if the perfect 90째 corner is to result. To reinforce the plain joint, biscuits or splines are often used (the spline being trimmed after the glue has cured). 3.6 Mitre Joint

Butt Joint The simplest of joints is a butt joint - so called because one piece of stock is butted up against another, then fixed in place, most commonly with nails or screws. The addition of glue will add some strength, but the joint relies primarily upon its mechanical fixings. These joints can be used in making simple boxes or frames, providing that there will not be too much stress on the joint, or that the materials used will take nails or screws reliably. Butt joints are probably strongest when fixed using glued dowels.

3.7 Butt Joint

I extensively researched the most appropriate joints and methods of construction to create the quad seating as successful as possible. In the end I found an incredibly useful website that talked through in laymans terms exactly what joints were and in what instances they should be used. From there, I determined that a mixture of mitred, cross half-lap and butt joints were in my opinion the best solution to create the bases all detailed on this page. This made drawing the detailed drawings themselves much easier as I had a profound understanding of the various joints and what other options were available to me should they not work.

www.raygirling.com/wwjoints.html

Joints & Construction

Here are examples of the detail drawings that I created in light of the information I researched - as seen on page 27. For the main body of the cross base I designed a long base with two arms to create the cross-like form. To create a stronger junction I incorporated a cross half-lap joint within the top veneer with a glue fix assembly. By doing so I specified a half depth recess to allow the pieces to sit flush and create a monolithic aesthetic. The next element to assemble were the angled back rests of the four seating themselves. I specified an obtuse mitre joint which would allow, again, the different veneers to sit flush when assembled. Prior to this I experiemented with the idea of a shadow gap with the concern that I would be unable to achieve a perfect joint and this would be seen as simply a design feature. However I soon realised that this was a compromise in the design that I envisaged therefore striving to detail the angled precision required for them

3.8 Seat Assembly

3.9 Mitre 2

This then incorporated the upholstered seating being stapled to the plywood former.

3.10 Exploded Diagram

Square Schematics & Ergonomics

140

Detail 5

FurnitureRealm Dining Table with brushed steel base and square oak table top

Detail 6

Detail 3

Detail 1

on Dining Chair in John l Velvet Minotti Aston Dining Arm Chair in John Lewis Como Velvet

Plan Schematics 3.11 Schematic 1

Isometric 1:20

1:10

3.12 Schematic 2

The crux of my detail was observing the ergonomics of the four seats themselves. It was of utmost importance to ensure that the high paying dinersâ&#x20AC;&#x2122; would be in the greatest comfort throughout the entire meal and in no way squashed or packed in. Researching square schematics and the ergonomic spatial design of seating was crucial to my technical detailing and proved really useful when deciding the length of both the seat lengths and the table top dimensions. To delve further into the ergonomics of dining I researched table settings themselves as glassware and crockery would consume most of the space on the table; from there I concluded that the geometry of the seating largely dictated how big the table could actually be and therefore the pre-set table pieces (cutlery, napkin, glass) were best kept to a minimum. As a main concern was whether or not guests would seat comfortably in the four quadrants without feeling squashed I investigated in depth the schematics of dining.

1400 A

A 5000

Here are examples of the details created for technical detail package and they were instrumental in not only reassuring client that the bespoke seating was in fact not cramped but also allowed for high paying guests to feel comfortable and relaxed within the surrounding.

800

ining Table with e and square oak

1200

500 700

140

500

780

565 A

0 78

Location Plan 1:500

1:50

Section Schematics 1:10

Plan Schematics 1:10

3.13 Detail 1

References

t code FRTA045 can be found on sample boards

1400

Elevations

Sections

A B C

780

17.04.15 20.04.15 06.05.15

Project

3.14 Detail 2 Cascade

Drawing Title

Proposed Detail Drawing for Seating. Plans, Sections and Elevations

Sheet Rev.

800

Initial construction techniques Reconfiguration of internal support and fixtures to base Addition of seating to show purpose of detail

Description

Date

010201

Drawn By

Rev. Checked By

Date

C RF

Scale

06.05.15 1:20, 1:50 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

I feel ultimately this was all helpful information and useful in terms of enhancing my understanding of designing bespoke furniture in future. It was an aspect of detailing design that I would not have thought of myself so I am glad that Alex and Tony raised the issue when in tutorials. I do feel however that I could have improved the details by adding plates or a typical table setting plan but I toyed with how important this actually was to conveying the construction of the seating.

Summary

I am not a very technical designer and in previous projects have always struggled with the detailing of design elements however on the contrary I am overall quite pleased with how my drawings turned out. I endeavoured to research extensively into the construction of and conscious material choices for my cluster seating which I feel has helped me to develop my detailing skills to take forward into my career. In all honesty I did find this a very challenging task but one that I feel I have learned a lot from. I struggled to find any relative examples that demonstrated a design that was relevant to constructing seating which caused a mental block for the initial drawing stage. This unfortunately led to having very undeveloped drawings by the time I had a tutorial which would have been more beneficial should I have more information to show. On the other hand this did help with getting myself sorted and the project moved very quickly from there onwards.

Full Design Scheme Mood Board Abyss Haptic Echelon Location Plan First Floor Plan Second Floor Plan Third Floor Plan Elevations Sections Lighting Plans Plumbing Plans Summary of Full Design Scheme

Mood Board

4.1 Mood Board

Visuals 4.2 ABY 1, 4.2 ABY 2, 4.3 ABY 3

Abyss

Entrance

4.5 Entrance

Abyss Central

4.6 Central Abyss

Abyss Right

4.7 Right Abyss

Visuals 4.8 HAP 1, 4.9 HAP 2, 4.10 HAP 3

Haptic

Haptic Central Atrium

4.11 Haptic Central

Haptic Kitchen

4.12 Haptic Kitchen

Haptic Booth Seating

4.13 Haptic Booth

Haptic Seating

4.14 Haptic Seating

Visuals 4.15 ECH 1, 4.16 ECH 2, 4.17 ECH 3

Echelon

Echelon Bar

4.18 Echelon Bar

Echelon Water Lounge

4.19 Echelon Water Lounge

Echelon Seating

4.20 Echelon Seating

Echelon Installation

4.21 Echelon Installation

H채fele 37mm Zinc Plated Steel Metal Cavity Fixing 18mm Plywood Former Coated Painted Oak Veneer

3mm Karndean EW02 Hickory P Flooring

12.7mm Plywood Subfloor supp timber joists Timber joists

Existing Concrete Flooring

Detail 2 Fixing of Base to Floor 1:1

Detail 1 Fixing of Base to Existing Floor 1:10

Elevations

Sections

Dale Street Elevation

Inside cavity hollowed

17.04.15

Project

Cascade

Drawing Title

Second Floor Reflect Sheet Rev.

18mm Plywood Former to be finished with Black Painted Oak Veneer

Initial construction techniques

CAD Package

Description

Date

010108

Drawn By

4.22 CAD 1, 4.23 CAD 2, 4.24 CAD 3

Elevation A

References

Notes

15mm Recess of cross-halved lap joint to be secured by glue fix

ale

rth

No hn

Jo t

eting

Str

Swe et

Stre

stl

Separate Letting

Entrance from street level

Str

ok Co

eet

Str

Ground Floor Plan Location Plan

Notes

References

Elevations

Sections

Initial plan

03.0315

Project

Cascade

Drawing Title

Location & Ground Floor Plan Sheet Rev.

Description

Date

010101

Drawn By

Rev. Checked By

Date

A RF

Scale

18.05.15 1:1000, 1:50 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

Key Floor Lighting 7W recessed LED spot uplights brushed steel finish

Nero Marquina Polished Marble counters

Access lift and staircases to from first to third floor

UP.

Plant Room

VOID Kitchen

Entrance

UP.

Female WC

Boiler located on first floor within offices

Restaurant

Access

7W recessed spotlighting in both floor and ceiling surrounding kitchen counter

Male WC

B Darkened entrance interior with Fog Projection

VOID

Windows are concealed by black MDF boards

Kitchen island and work space of Nero Marquina Polished Marble

Lift access between spiral staircase: suitable for disabled access

Emergency access located to the west of the building and runs through to ground floor

Emergency lighting surrounds walls towards fire exits

Goods and waste lifts located in the west stairwell to cater upper restaurant and bar

Windows are concealed by MDP panels painted black

Flooring throught Karndean Black Oak Parquet

Reinforced glass ballustrade surrounds pool at 1100mm high

Key finishes and materials detailed on materials board

References

Notes

Elevations

Sections

Initial construction techniques

17.04.15

Project

Cascade

Drawing Title

First Floor Plan

Sheet Rev.

Description

Date

010102

Drawn By

Rev. Checked By

Date

A RF

Scale

18.05.15 1:100 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

B Bench seating

30W sconce wall lighting on wall feautres throughout Cluster seating made of painted black oak. (Sit 16)

UP.

Access

Offices for NVQ and apprenticeship schemes

Restaurant

Male WC

Pool

VOID

Female WC

UP.

Kitchen

Auxillary Space

Full height glass walls with open door to kitchen

Access to office space sealed off by 50mm stud wall 200mm raised platform seating

Bar

Audio booths and speakers installed discreetly into wall to play seaside sounds

200mm raised platform to bar

Sound insulation and reflection boards installed into faceted prism surfaces to reduce noise from rest of restaurant Full height bespoke bar cabinetry in same painted black oak as seating

References

Notes Central pool with fresh water collecting from waterfall Emergency access located to the west of the building and runs through to ground floor Goods and waste lifts located in the west stairwell to cater upper restaurant and bar Flooring throught Karndean Black Oak Parquet Key finishes and materials detailed on materials board

Backlit white Corian and tapped metal prism wall and ceiling feature

Lift access between spiral staircase: suitable for disabled access Widened balcony over central space Cluster and bench seating painted black oak Reinforced glass ballustrade surrounds pool at 1100mm high Pool sits 200mm deep recessed into floor. Pool bottom of 50mm reinforced smoked glass

Elevations

Sections

Initial plan

03.03.15

Project

Cascade

Drawing Title

Second Floor Plan

Sheet Rev.

Description

Date

010103

Drawn By

Rev. Checked By

Date

A RF

Scale

18.05.15 1:100 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

B Bench seating

30W sconce wall lighting on wall feautres throughout Cluster seating made of painted black oak. (Sit 16)

UP.

Access

Offices for NVQ and apprenticeship schemes

Restaurant

Male WC

Pool

VOID

Female WC

UP.

Kitchen

Auxillary Space

Full height glass walls with open door to kitchen

Access to office space sealed off by 50mm stud wall 200mm raised platform seating

Bar

Audio booths and speakers installed discreetly into wall to play seaside sounds

200mm raised platform to bar

Sound insulation and reflection boards installed into faceted prism surfaces to reduce noise from rest of restaurant Full height bespoke bar cabinetry in same painted black oak as seating

References

Backlit white Corian and tapped metal prism wall and ceiling feature

Elevations

Sections

Initial plan

03.03.15

Project

Cascade

Drawing Title

Second Floor Plan

Sheet Rev.

Description

Date

010103

Drawn By

Rev. Checked By

Date

A RF

Scale

18.05.15 1:100 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

Key Air conditioning units

500

Ceiling heights lowered by 250mm to accomodate air conditioning

3290

3060

Access & fire escape stairwell with goods lifts

Separate Letting Section AA

Water walls fall from ceiling into floor recess below

No air conditioning where water pumps are located

Separate Letting Section BB

Notes

References

Elevations

Sections

Initial Plan

17.04.15

Project

Cascade

Drawing Title

Section AA & BB Sheet Rev.

Description

Date

010105

Drawn By

Rev. Checked By

Date

A RF

Scale

18.05.15 1:100 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

Elevation A

Elevation B Notes Specified table product code FRTA045 All materials specfied can be found on sample boards

Dale Street Elevation

Sweeting Street Elevation

References

Elevations

Sections

Initial construction techniques

17.04.15

Project

Cascade

Drawing Title

Elevation A & B Sheet Rev.

Description

Date

010106

Drawn By

Rev. Checked By

Date

A RF

Scale

18.05.15 1:100 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

Key Ceiling Lighting 7W recessed LED spot downlights brushed steel finish Fogscreen Pro Unit

Notes

References

Elevations

Sections

Initial construction techniques

17.04.15

Project

Cascade

Drawing Title

First Floor Reflected Ceiling Plan Sheet Rev.

Description

Date

010107

Drawn By

Rev. Checked By

Date

A RF

Scale

18.05.15 1:100 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

Key Ceiling Lighting 7W recessed LED spot downlights brushed steel finish

Wall Lighting 7W brushed chrome single arm sconces 5W recessed LED strip uplighting White backlit Corian prism wall attachments 7W brushed black single arm table lamps

Notes

References

Elevations

Sections

Initial construction techniques

17.04.15

Project

Cascade

Drawing Title

Second Floor Reflected Ceiling Plan Sheet Rev.

Description

Date

010108

Drawn By

Rev. Checked By

Date

A RF

Scale

18.05.15 1:100 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

Key Ceiling Lighting 7W recessed LED spot downlights brushed steel finish 13W pendant bulb lights with exposed wiring

Wall Lighting 7W white ceramic uplight sconce 5W recessed LED strip uplighting

Notes

References

Elevations

Sections

Initial construction techniques

17.04.15

Project

Cascade

Drawing Title

Third Floor Reflected Ceiling Plan Sheet Rev.

Description

Date

010109

Drawn By

Rev. Checked By

Date

A RF

Scale

18.05.15 1:100 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

Key Plumbing 15mm Copper Hot Water Pipe 10mm Copper Cold Water Pipe CWS

Cold Water Supply

Drainage 100mm Basin Waste Pipe 100mm Toilet Waste Pipe SS

Soil Stack

Service Shaft

Boiler

Plant Room

SS Ss CWS

First Floor Toilets

Notes Boiler located in Plant room to north of building within office space Existing internal manholes to be double seal screw down cover All drains adequately vented to fresh air and fittings have deep seal traps Lowest connection to svps minimum of 450 above invert level

A B

References

Elevations

Sections

Initial Drawings & Notes Addition of CWS

03.03.15 20.04.15

Project

Cascade

Drawing Title

Plumbing & Draining Plan Sheet Rev.

Description

Date

010201

Drawn By

Rev. Checked By

Date

B RF

Scale

18.05.15 1:100 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

140

Detail 5

FurnitureRealm Dining Table with brushed steel base and square oak table top

Detail 6

Detail 3

Detail 1 Minotti Aston Dining Chair in John Lewis Steel Velvet Minotti Aston Dining Arm Chair in John Lewis Como Velvet

Plan Schematics 1:10 Right Isometric 1:20

1400 A

A 5000

800

1200

5000

500 700

500

780

565 A

Plan 1:50

Notes Specified table product code FRTA045 All materials specfied can be found on sample boards

Location Plan 1:500

Section Schematics 1:10

References

Elevations

Sections

A B C

Initial construction techniques Reconfiguration of internal support and fixtures to base Addition of seating to show purpose of detail

17.04.15 20.04.15 06.05.15

Project

Cascade

Drawing Title

Proposed Detail Drawing for Seating. Plans, Sections and Elevations

Sheet Rev.

Description

Date

010201

Drawn By

Rev. Checked By

Date

C RF

Scale

06.05.15 1:20, 1:50 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

H채fele 37mm Zinc Plated Steel Fischer Metal Cavity Fixing 18mm Plywood Former Coated with Black Painted Oak Veneer 3mm Karndean EW02 Hickory Peppercorn Flooring 12.7mm Plywood Subfloor supported with timber joists Timber joists

Existing Concrete Flooring

Detail 2 Fixing of Base to Floor 1:1

Elevation AA 1:20 Detail 1 Fixing of Base to Existing Floor 1:10

18mm Plywood Former to be finished with Black Painted Oak Veneer

Inside cavity hollowed

15mm Recess of cross-halved lap joint to be secured by glue fix

25mm Plywood topper to attach to seating base flush to be finished in black oak veneer 19mm x 38mm timber battens to construct inner support

15mm (500mmx500mm) recess for crosshalved lap joint to be secured by glue fix

5000mmx975mmx500mm Plywood base former to be finished in black oak veneer

Section AA Detail 3 1:10

Glue fix to attach topper to base on both sides 100mm Upholstered Memory Foam seat cushion to be finished in John Lewis Peacock Woven fabric. High Density core.

Glue fix joint to attach side arms to central base at 90째 cross angles

18mm Plywood Former to be finished with Black Painted Oak Veneer 2250mmx975mmx500mm Plywood side base former to be finished in black oak veneer

Detail 5 Assembly of Main Base Components 1:20

Detail 4 Fixing of Padded Seat to Base 1:5 Notes All upholstery fabric and foam to be heat and fire resistant and of a suitable contact quality

References

Elevations

Sections

A B C

Initial construction techniques Reconfiguration of internal support and fixtures to base Addition of seating to show purpose of detail

17.04.15 20.04.15 06.05.15

Project

Cascade

Drawing Title

Proposed Detail Drawing for Seating. Plans, Sections and Elevations

Sheet Rev.

Description

Date

010201

Drawn By

Rev. Checked By

Date

C RF

Scale

06.05.15 1:20, 1:50 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

All components assemble by flue fix

Plywood former to be finished with black oak veneer

1200mmx500mx100mm upholstered seat to be nail gunned to frame

Detail 7 Angled Back Rest Components 1:10

Detail 6 Assembly of Angled Back Rests to Main Base Construction 1:10

144° obtuse mitred joint to affix seat backs to main base Obtuse mitred joints glue fix to sit flush against opposite seat back

144° Pieces cut at 72° mitres

161° obtuse angled footwell to allow diners to keep bags under seating

161°

500 Detail 8 Mitred Joints of Back Rest Construction 1:5

Section AA 1:10

Notes All materials specfied can be found on sample boards

References

Elevations

Sections

A B C

Initial construction techniques Reconfiguration of internal support and fixtures to base Addition of seating to show purpose of detail

17.04.15 20.04.15 06.05.15

Project

Cascade

Drawing Title

Proposed Detail Drawing for Seating. Plans, Sections and Elevations

Sheet Rev.

Description

Date

010201

Drawn By

Rev. Checked By

Date

C RF

Scale

06.05.15 1:20, 1:50 @ A1

Megan Gibson Design 3 Greenfinch Close Stowmarket Suffolk IP14 5UT

Full Design Scheme Final Summary Image Reference Bibliography

Final Summary Ultimately I feel that my success at feasibility stage put me in good stead to pursue the project further. I thoroughly enjoyed the feasibility process as it allowed me to create a solid foundation to take on and develop at later stages. I was very passionate that I did not want to create a typical ‘community center’ but I felt that it was important to embed the community importance at the core of whatever I designed. Subsequently I feel by aiding the local community in a discreet way my restaurants were very successful. I extensively researched the North West/Northern economy and its current state of youth unemployment and this became the crux of Cascade. I am a firm believer that you should instil into the younger generations skills, knowledge and talent for them to take forth and grow themselves which is a belief that also led to creating the structured environment offering young unemployed people an alternative to university education. Whilst I enjoyed this aspect of the project I feel as though I still did not know exactly how I envisaged the interior of my project but through precendent studies I knew the styles. At some stages I did feel as though I had given myself too options and worried the final look could become misconstrued. Progressing forward into the complete design stage I felt confident but focused a lot of my time on the spatial design of the spaces as they were so large. I felt that once I had mastered the division of the space I would be able to aesthetically realise the projects and make them as successful as possible. From conceptual and feasibility stages I knew what elements I had in mind for each of the interior and therefore this allowed me to work on scale when spatially designing the restaurants. Once that was finalised I thoroughly enjoyed assigning materials and applying textures to the space to create the sensory restaurants I envisaged at concept. I regret, as previously stated, not applying any design to the front offices for the secondary aspect of Cascade as I feel these could have enhanced the project and made it clear that it was just as an integral part of the design. A particularly successful part of my design was the capturing of moments within the space and creating an exciting environment for guests predominantly through the installation project. Echelon very quickly became my favourite interior as it captured that movement and elegance that I set out to achieve, I thought the design was exciting, innovative and emotionally emotive for those experiencing it. Sadly, at points I fear the project was lost through the visuals as other sensory elements were unable to be visualised as they were auditory or somatic in particular in Haptic. Further to this visualising the restaurant was a huge struggle initially due to complications with getting the lighting right. The visuals submitted for client presentation were unfortunately very lacking in depth and very flat images with an exposure issue sourced from Cinema 4D. Certain water textures were also very questionable and just appeared as glass which was a massive challenge as water can be visualised in so many different ways without just looking like glass. This issue was particuarly prevalent in the Water Lounge of Echelon as they water curtains just looked like glass walls. For the following assessments the texture and lighting elements were resolved to a satisfactory standard and definitely an improvement on earlier visuals - but again the water still sometimes does not quiet convey. The branding element was one that I relished as I have a great interest in branding and graphic elements of design. Not only did I enjoy creating a brand image for Cascade but also the three interiors within: Abyss, Haptic and Echelon. I ensured that their names were relevant to each interior and portrayed a brand that I wanted guests to feel they could relate to and enjoy. I kept the logos simple and all grayscale like Cascade as this allowed for all brands to look crisp and unified when advertised. I researched the definitions of each of the names to ensure that they reflected both the ethos and aesthetic of each interior. Another exciting element to my design was the collaboration with Cisca Collings, a (BA) Design Crafts graduate who was responsible for the stunning ceramics and installation included within my design. I was initially worried that we had come across one another too late on in our projects and that I was unable to show her work as much as I would liked but also had to remain mindful that I had to show my work to its best ability. Something that I have strived to include throughout my three years at De Montfort was including installations and guest artists within my work so it seemed really natural working with Cisca for the last few weeks of the design. Her work complimented mine and vice versa which was incredibly rewarding; something that, more importantly, added another dynamic to my work which was unprecedented. Above all I feel the experience as a whole was rewarding as I gained valuable experience working alongside an artist and how to cater to her needs as much as maintaining my best interests too. From our partnership we have gained a new friendship as well as a working relationship that we can carry forth after Degree Show and into our careers. With regards to the Technical Detailing and CAD package I feel in two parts. Ater the client presentation I felt confident about my CAD package as I worked hard to define the restaurants spatially and to ensure that the interiors worked for all those using it. I worked very hard to ensure that my annotations, conventions and sheet layouts were to the best of my ability and feel confident that they were. Detailing on the other hand was always a struggle for me. After designing the seating myself from conceptual stages of the project I thought I would have a better realisation fo how the seating would be constructed and formed but I still found myself struggling well into the project. I created three strong sheets visually but I fear content was lacking or restricted as I just do not have a technical approach to design. Despite this I extensively researched the detailing aspect and hope that I did in fact illustrate how best to construct the seating. Overall I am extremely proud of the project I have created and looking back throughout this reflected report I feel I carried it out to my best ability. Looking at the final visuals and how they work with the people I have populated them with I think the project was a success. In order to resolve the issue with portraying auditory and other sensory elements I included a speaker playing ‘sounds of the sea’ to give viewers at Degree Show an understanding of how the emotive response would be in reality. I am pleased with how the plans and visuals work in unison to convey the project so that it is easily read. I hope this has given me a solid foundation to take into my career as a designer to build upon.

Image References 1.1 Paper Sculpture (2014) Interior [personal image] Available from: www.pinterest.com/megangibson1 1.2 Initial Model 1 (2014) Interior [personal image] Available from: Personal records 1.3 Initial Model 2 (2014) Interior [personal image] Available from: Personal records 1.4 Initial Model 3(2014) Interior [personal image] Available from: Personal records 1.5 Concept Model 1 (2014) Interior [personal image] Available from: Personal records 1.6 Concept Model 2 (2014) Interior [personal image] Available from: Personal records 1.7 Concept Model 3 (2014) Interior [personal image] Available from: Personal records 1.8Concept Model 4 (2014) Interior [personal image] Available from: Personal records 1.9 Concept Model 5 (2014) Street Survey [personal image] Available from: Personal records 1.10 Mood Image 1 (2014) Smoke [personal image] Available from: www.pinterest.com/megangibson1 1.11 Mood Image 2 (2014) Wave [personal image] Available from: www.pinterest.com/megangibson1 1.12 Mood Image 3 (2014) Fire [personal image] Available from: www.pinterest.com/megangibson1 1.13 Mood Image 4 (2014) Explode [personal image] Available from: www.pinterest.com/megangibson1 1.14 Mood Image 5 (2014) Plate [personal image] Available from: www.pinterest.com/megangibson1 1.15 Mood Image 6 (2014) Ink [personal image] Available from: www.pinterest.com/megangibson1 1.16 Sketch 1 (2014) Sketchbook [personal image] Available from: Personal records 1.17 Sketch 2 (2014) Sketchbook [personal image] Available from: Personal records 1.18 Section Sketch (2014) Sketchbook[ personal image] Available from: Personal records 1.19 Atrium Sketch (2014) Sketchbook [personal image] Available from: Personal records 1.20 Sketch 3 (2014) Sketchbook [personal image] Available from: Personal records 1.21 Sketch 4 (2014) Sketchbook [personal image] Available from: Personal records 1.22 Installation (2014) Sketchbook [personal image] Available from: www.pinterest.com/megangibson1 1.23 Water (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1 1.24 Fire (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1 1.25 Smoke (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1 1.26 Ink (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1 2.1 Model 1 (2014) Photography [personal image] Available from: Personal records 2.2 Model 2 (2014) Photography [personal image] Available from: Personal records 2.3 Model 3 (2014) Photography [personal image] Available from: Personal records 2.4 Model 4 (2014) Photography [personal image] Available from: Personal records 2.5 Model 5 (2014) Photography [personal image] Available from: Personal records 2.6 Model 6 (2014) Photography [personal image] Available from: Personal records 2.7 Seating (2014) Sketchbook [personal image] Available from: Personal records 2.8 Seating Sketch (2015) Sketchbook [personal image] Available from: Personal records 2.9 Seating Plan (2015) Sketchbook [personal image] Available from: Personal records 2.10 Haptic Booth 1 (2015) Sketchbook [personal image] Available from: Personal records 2.11 Haptic Booth 2 (2015) Sketchbook [personal image] Available from: Personal records 2.12 Echelon Bar (2015) Sketchbook [personal image] Available from: Personal records 2.13 Abyss Plan 1 (2015) Sketchbook [personal image] Available from: Personal records 2.14 Abyss Plan 2 (2015) Sketchbook [personal image] Available from: Personal records 2.15 Haptic Plan 1 (2015) Sketchbook [personal image] Available from: Personal records 2.16 Haptic Plan 2 (2015) Sketchbook [personal image] Available from: Personal records 2.17 Echelon Plan 1 (2015) Sketchbook [personal image] Available from: Personal records 2.18 Echelon Plan 2 (2015) Sketchbook [personal image] Available from: Personal records 2.19 Ear (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1 2.20 Nose (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1 2.21 Eye (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1 2.22 Mouth (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1 2.23 Hand (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1

2.24 Axonometric (2015) Sketchbook [personal image] Available from: Personal records 2.25 Liver Building (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1 2.26 Abyss Sketch (2015) Sketchbook [personal image] Available from: Personal records 2.27 Haptic Sketch 1 (2015) Sketchbook [personal image] Available from: Personal records 2.28 Haptic Sketch 2 (2015) Sketchbook [personal image] Available from: Personal records 2.29 Haptic Sketch 3 (2015) Sketchbook [personal image] Available from: Personal records 2.30 Echelon Sketch (2015) Sketchbook [personal image] Available from: Personal records 3.1 Veneer Wall 1 (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1 3.2 Veneer & Copper (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1 3.3 Veneer Wall 2 (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1 3.4 Jane Seating (2014) Pinterest [personal image] Available from: www.pinterest.com/megangibson1 3.5 Cross Half-Lap Joint (2015) Detail [personal image] Available from: Personal records 3.6 Mitre Joint (2015) Detail [personal image] Available from: Personal records 3.7 Butt Joint (2015) Detail [personal image] Available from: Personal records 3.8 Seat Assembly (2015) Detail [personal image] Available from: Personal records 3.9 Mitre 2 (2015) Detail [personal image] Available from: Personal records 3.10 Exploded Diagram (2015) Detail [personal image] Available from: Personal records 3.11 Schematic 1 (2011) Detail [personal image] Available from: Personal records 3.12 Schematic 2 (2011) Detail [personal image] Available from: Personal records 3.13 Detail 1 (2015) Detail [personal image] Available from: Personal records 3.14 Detail 2 (2015) Detail [personal image] Available from: Personal records 4.1 Mood board (2014) Feasibility [personal image] Available from: Personal records 4.2 ABY 1 (2015) Visuals [personal image] Available from: Personal records 4.3 ABY 2 (2015) Visuals [personal image] Available from: Personal records 4.4 ABY 3 (2015) Visuals [personal image] Available from: Personal records 4.5 Entrance (2015) Visuals [personal image] Available from: Personal records 4.6 Central Abyss (2015) Visuals [personal image] Available from: Personal records 4.7 Right Abyss (2015) Visuals [personal image] Available from: Personal records 4.8 HAP 1 (2015) Visuals [personal image] Available from: Personal records 4.9 HAP 2 (2015) Visuals [personal image] Available from: Personal records 4.10 HAP 3 (2015) Visuals [personal image] Available from: Personal records 4.11 Haptic Central (2015) Visuals [personal image] Available from: Personal records 4.12 Haptic Kitchen (2015) Visuals [personal image] Available from: Personal records 4.13 Haptic Booth (2015) Visuals [personal image] Available from: Personal records 4.14 Haptic Seating (2015) Visuals [personal image] Available from: Personal records 4.15 ECH 1 (2015) Visuals [personal image] Available from: Personal records 4.16 ECH 2 (2015) Visuals [personal image] Available from: Personal records 4.17 ECH 3 (2015) Visuals [personal image] Available from: Personal records 4.18 Echelon Bar (2015) Visuals [personal image] Available from: Personal records 4.19 Echelon Water Lounge (2015) Visuals [personal image] Available from: Personal records 4.20 Echelon Seating (2015) Visuals [personal image] Available from: Personal records 4.21 Echelon Installation (2015) Visuals [personal image] Available from: Personal records 4.22 CAD 1 (2015) Visuals [personal image] Available from: Personal records 4.23 CAD 2 (2015) Visuals [personal image] Available from: Personal records 4.24 CAD 3 (2015) Visuals [personal image] Available from: Personal records Remainder of images are from Revised CAD Package for Cascade. Available from: Personal records

Bibliography

PLUNKETT, D. and REID, O. (2013) Detail in contemporary Bar and Restaurant Design. London: Laurence King PLUNKETT, D. (2010) Construction and Detailing for Interior Design. London: Laurence King GIRLING, R (Unknown) Common Woodworking Joints. London: Unknown Available from: http://www.raygirling.com/wwjoints.htm