MELISSA DEWAR
Architecture & Design
N 01
Sample Portfolio Une collection d’œuvres
The Retail Atelier Krystal Sensus Solus Aqua Other
INDEX
I Introduction 51.38° N, 2.35° W
II The Retail Atelier 51.53 ° N, -0.11 ° W
III Solus Aqua 51.38° N, 2.35° W
IV Krystal 52.52° N, 13.41° E
V Other Works 51.53 ° N, -0.11 ° W
Introduction 51.38° N, 2.35° W
CHAPTER I
I
4
am an architectural designer (Part 1) based between London and Paris with interests in retail, luxury and interiors. Currently, I am a graduate of the University of Bath. After my studies, I worked as an architectural assistant for Rigby & Rigby, part of Allect Design Group. During my time there I worked on a variety of acclaimed projects within the luxury architecture industry. This includes a family office for the Wilhemsen Family. Other projects include; Claridge’s and Ennismore Gardens. I have also interned at Wilkinson Eyre Architects on international competitions such as Battersea Power Station, CIBC Square in Toronto, Crossrail and HS2 Old Oak. My body of work is defined by understated elegance in the
context of modern minimalism. I relish from experimenting with proportion, materiality and form making. I believe I have a clear architectural language that runs throughout my work. Through a delight in what I do, I believe I design from a place of deep love and compassion. My final year thesis project merges my interests in retail design and fashion. The project explores the way the current retail typology can be challenged to reconnect us to the very essence of garment making. It configures the way architecture can detract us from our consumerist tendencies. Outside of my degree, I run my personal brand which merges my love of fashion and architecture. In its success, it has been featured in magazines such as Vogue, Elle and the New York Times.
5
DESIGN IS NOT MAKING BEAUTY BEAUTY EMERGES FROM SELECTION AFFINITIES INTEGRATION LOVE Louis Kahn
6
THE RETAIL ATELIER 51.53 ° N, -0.11 ° W
A.
7
8
B.
9
CHAPTER 2
O
ur lust for acquisition has resulted from our insatiable appetite for more commodities. All we desire within our reach and never fully in our grasp; the shopper forever on the hunt. The beautiful item sits so radiantly on the shelf, perfect and pure. Forbid those who mention the hands that made such a thing. Perhaps we don’t want to know as the truth may destroy our desire. Disconnection from the fundamental human need to make, sell and buy garments is ever-present as the shop window shrinks to the size of a computer screen. Shopping, an activity that once empowered cities and humanity to thrive is dissolved into dust. In our longing to consume, we try to keep up with a system of endless trends, that only seeks to profit from our desire to feel satisfied. Through commercialism and fast fashion, we get our quick fix but are never fully sated. In search of our desires whilst in a third world country someone has to starve to make our garments. We have become de-laminated from
a once enchanting industry; that empowered cities to grow, culture to be shaped and social encounters to take place. In the words of Ellen Sampson, “The distance between maker and user in contemporary commodity cultures often renders the maker inert in the experience of the wearer, the maker’s agency is viewed as boded within the transaction of making”. The Retail Atelier seeks to re-invent a new retail typology that challenges consumerism by reconnecting us to the very essence of dressmaking. In returning to the origins of fashion we can rekindle the lost art of weaving, stitching and couture. Fashion designers, garment makers and wearers are brought together in an orchestrated harmony.
D.
A. Le Chambre Designer, Visual B. Site Model 1:100, Cast C. Defille de Mode, Photo D. Consumption, Photo E. Garment Makers, Photo E.
The Retail Atelier 51.53° N, -0.11° W
C.
The Retail Atelier 51.53° N, -0.11° W
10
T
CHAPTER 2
he Site is a discoverable place. Once known as York House Mews, it is tucked away at the end of Broad Street. The chosen site for the scheme has a unique Phesu between the inner façades that look onto the site and the outer façades forming the retail frontages of Milsom Street. The fractures through the site act as passageways into a secluded location that is all about the found space and découverte. Bath is a city of many hidden spaces that act as veins through the urban fabric. The curious re-inversion of the site acts as a veil between truth and lies. The truth about our existential consumerism of garments is hidden in the false beauty of the facade. Architecturally, the back faces are often messy and untreated revealing the veracity. In contrast, the front façades express order and logic. F. Floor Plan, Visual G. Consumption, Analysis H. Hidden Facade, Analysis I. Concept, Sketch J. Concept, Sketch F.
G.
H.
I.
J.
11
Floor Terrazzo finish on flooring with concrete structural slabs.
Glass Double glazed panels that slot into the arched frames.
K.
Frame Pre-Cast Concrete Arches. Sits on a 6m by 6m structural grid.
Foundations Pile Foundations with beam and block floor system. Depth of foundations is 20-30 m.
12
L.
M.
13
CHAPTER 2 The Retail Atelier 51.53° N, -0.11° W
T
he tectonic nature of the project narrates the garment making story. It explores the figurative qualities of architecture as a building that is for fashion. Therefore, the architecture acts as a backdrop to the fashionable activities taking place in the scheme. The three primary tectonic principals are inspired by the garment making process and have allowed the scheme to develop a stronger architectural coherence. K. Arch Configurations, Cast L. Structure, Visual M. Tower Exploded Iso, Visual N. Staircase, Cast O. Context Section, Drawing N.
CHAPTER 2 The Retail Atelier 51.53° N, -0.11° W
14
O.
15
16
P.
17
CHAPTER 2 The Retail Atelier 51.53° N, -0.11° W
Q.
F
rom the point of view of finding possibilities, architecture and clothes-making share many common potentials” - Rei Kawakubo The city of Bath which forms the backdrop of the project is a city of strolling, discovery and fashion. It is a place with many fractures leading to hidden spaces. Throughout my time in Bath, I loved to be able to discover hidden spaces by wandering around this magical city. Often, I would find myself walking to find peace and compose my thoughts during the project. P. Found Space, Visual Q. Concept, Sketch
18
A.
SOLUS AQUA 51.38 ° N, 2.35 ° W
19
Solus Aqua 51.38° N, 2.35° W
20
CHAPTER 3
B.
C.
D.
eaning to achieve health through the use of water.
and therapy? The research was centred around hydrotherapy and the necessary spaces needed for both the health centre and a sports stand. Conceptually, it looked at the various states of water used for therapy; liquid, gas and solid forms of water were interpreted into an architecture for mindfulness.
M
The scheme responds to the predominant context of the River Avon in Bath and the healing properties of its waters. It challenges the ways the River Avon can act as a key figure in the local spa industry. It offers opportunities for community healing. This creates an architecture for the public that truly embraces the beauty of water. Pragmatically, the architecture redefines the meaning of a sports stand. Can sports infrastructure become places of healing, mindfulness
A. Match Time, Visual B. Spa and Wellbeing Analysis, Diagram C. Concept, Sketch D. Concept, Sketch E. Crescent Analysis, Diagram
E.
21
F.
22
23
CHAPTER 3 Solus Aqua 51.38° N, 2.35° W
Solus Aqua 51.38° N, 2.35° W
24
F
CHAPTER 3
ounded on the healing properties of natural hot springs, the city of Bath (Latin; Aquae Sulis), is renowned for its architecture and materials which reinvented the 18th century. Our response must challenge the interaction with the River and the luxury associated with the spa industry, instead offering opportunities for the community healing, and a public realm that embraces water. Inspired by the fanned vaults in the Bath Abbey, our roof design follows a similar shape by utilising 7 arches with varying widths and arch heights which fan out from one fixed point. The fanned element is a repetitive feature in our design, which continues onto the courtyard and multi-purpose area. The roof is the defining architectural feature of the stand, which is visible from the city centre and north parade. F. Context Section, Drawing G. Exploded Isometric, Drawing H. Construction Diagram, Drawing I. Floor Levels Diagram, Drawing J. Landscape Diagram, Drawing K. Concept Ceiling Model, Cast M. Roof Model, Cast N. Scheme Model, Mixed Media O. Healing Waters, Visual
G.
H.
I.
K.
M.
J.
25
26
N.
27
CHAPTER 3 Solus Aqua 51.38° N, 2.35° W
O.
28
KRYSTAL 52.52° N, 13.41° E
29
30
A.
31
CHAPTER 4
B.
Krystal 52.52° N, 13.41° E
C.
D.
L
ocated East of the Topography of Terror museum sits the site for a proposed performance arts centre. In response to the rich historic context, the scheme expressed ways in which built forms can influence sensations of freedom, rebellion and liberation. Performance art is an art, where the artist seeks to challenge social norms. The underlying response to the scheme was initiated by research-based design. Kristallnacht was the tragedy in which 250 Jewish synagogues were burnt. The underlying language of the architecture pays respect to the Jews and the history that took place on the site.
In plan, the scheme resembles the Jewish star. The form of the star is then modulated into its external skin and details. Pragmatically, the lower levels house the functional elements which employ a humble architectural language. This is as opposed to the upper floors which are more expressive and harmonious of their function. A. Proposed Plan, Drawing B. Site, Photograph C. Site, Photograph D. Concept, Sketch E. Concept, Sketch
E.
CHAPTER 4 Krystal 52.52° N, 13.41° E
32
F.
33
34
G.
35
CHAPTER 4 Krystal 52.52° N, 13.41° E
C
rystal formation allowed me to critically explore the nature of the form and plan. Both must work in harmony with each other and express the undying nature of the history associated with the site. I was inspired by artist Tokujin Yoshioka whose installations allow viewers to have an immersive experience. The Jewish star geometry became the fundamental design feature, through which all other design decisions were based on.
H.
F. Scheme Short Section, Drawing G. Exploded Isometric, Drawing H. Structural Composition, Model I. Concept Circulation, Diagram J. Concept Entrance, Diagram K.Concept Performance, Diagram
I.
J.
K.
36
A.
OTHER 51.53 ° N, -0.11 ° W
Kanalen 5, Oslo Retail Design Fashion Styling
37
B.
C.
38
D.
E.
39
F.
CHAPTER 5
Kanalen 5 59.91째 N, 10.75째 E
K
analen 5 is part of a mixed -used development located opposite the Thief hotel in Tjuvholmen. The Watrium family office occupies the first floor of the building and is divided into two wings of accommodation connected by a glass bridge spanning the atrium below. The office offers views along the waterfront to the southwest with the Oslofjord providing a scenic backdrop. Watrium is seeking to create a unique identity and expression for the family office at Tjuvholmen where the building overlooks the Thief Luxury Hotel. The office should incorporate the company values and long family
H.
history into its design which will result in an office aesthetic that is intrinsically associated with the Watrium brand. All designs as part of Rigby & Rigby Architecture Team.
(Work shown as part of Rigby & Rigby Team) A. Entrance Staircase, Visual B. Norway Map, Drawing C. Concept Object, Sketch D. Concept Plane, Sketch E. Concept Surface, Sketch F-G. Site, Photographs
Other Words 52.53째 N, -0.11째 W
G.
Other Words 52.53° N, -0.11° W
40
J.
T
CHAPTER 5
he architectural strategy is closely based on the golden ratio, used to create visually pleasing compositions. This was used as an aid to composing elements such as staircases through to details. Five key spaces that form a successful office design are open zones, touchdown zones, quiet zones, breakout zones and resource zones. Not only this but providing a variety of workspace allows higher levels of productivity and wellbeing. Consideration of ways the company values and vision can be incorporated into the office layout and aesthetic became a driving factor early on in the design process. The concept of ‘4 pillars’ which are representative of the four generations of the family became a recurring theme to drive the design. Such pillars can be assigned to core company values or objectives. I. Office Internal Development, Visual J. Concept Wave, Sketch K. Exploded Isometric, Visual L. Staircase Development, Visual M. Column Detail, Visual N. Staircase Development, Visual
I.
L.
M.
K.
N.
41
42
A.
43
B.
CHAPTER 5
Retail Design 51.53 ° N, -0.11 ° W
D.
W
ithin the field of architecture, I am particularly interested in pursuing my interests within retail design. My various works within this field are predominately conceptual and focus on the relationship that architecture has with consumerism. As designers, we can heighten a shoppers experience for good or bad. More and more brands are relating to the power of carefully designed retail spaces. Concept
stores become a place of interaction with a brand and a place that as an architect I wish to translate into a full spatial experience. The space should be an extension of the brand and its values. Through my master’s studies, I wish to undertake further study in this relationship between architecture and consumerism.
A. Virtual Concept Store, Visual B-D. Concept Store, Sketch
Other Words 52.53° N, -0.11° W
C.
Other Words 52.53째 N, -0.11째 W
44
B.
Fashion Styling
CHAPTER 5
51.53 째 N, -0.11 째 W
O
utside of my architecture degree, I run my online publication and platform aimed at inspiring your modern woman. Content is primarily based on an ethical and sustainable mindset to fashion and lifestyle. This platform has enabled me to attend London Fashion Week and continually find inspiration through other creative fields. A-C. Editorial for Studio August, Styling
A.
C.
45