Personal Development Portfolio

professional development portfolio business & Enterprise rory johnson 3222424 Ma (architecture) spatial practices

contents Section 1 Postgraduate Study Plan Guidelines Section 2 Curriculum Vitae / website Section 4 Tutorial Preparation Form Section 6 Industry Liaison Groups (ILG) Section 7 Reflective Discourse Folder Section 8 Personal Bibliography Section 9 Statement of Practice Section 10 Research Methods Section 11 Reflection on development of practice

introduction My personal development has been something I’ve kept up from the very start of the academic year up until now. Right from the first day of the year, I kept a reflective journal, which I had not attempted to do as an undergraduate. This alongside my Internet and social media presence has been something I’ve kept up from the start of the year also, and something that I wish to continue onward from this year. Placing my practice in and amongst competition has been difficult as the appearance and style of my work has altered quite a lot as the year has progressed.

This document is an insight into my personal development through this year, showing the context that has underpinned my work throughout as well as outside efforts to understand the creative industry and use the best abilities at my disposal.

section 1 study plan outlines

study plan strategies for practise 2 I started the project with an interest in discovering in some form, a history and story of the Chines in Bournemouth. Through this project, I have been trying to use the factual content I have learnt and try to apply it to the practice I am completing. I have always found the Chines a mystery in general, considering their landscape, reputation and beauty.

My key objectives in researching the Chines’ history were; A) How and when did they come to exist?

B) Who used them in previous years and why?

C) What was their original form?

D) How did their current existence coincide/was effected by Bournemouth’s creation originally?

I had during my Strategies For Practice 1 project, explored old photographs and postcards of the Chines of the last century and beyond that gave me a general sense of their history in the town. The photos were in depth and stretched over various eras, whereby I gleaned a broad story of how each Chine had been used and developed over from the latter stages of the 19th Century to the present day. This kick started my desire to learn and use these facts to inform my current practice.

At the beginning of this project, I loaned out books from the University’s library to try and learn about Bournemouth’s founding as a town and how the Chines apply to it. The information I learnt from doing so gave me a good foundation of knowledge to refer back to when looking at the Chines, however apart from some sparse facts concerning the geological history of Bournemouth (their existence is entirely of a geological nature), I could not find the specifics I wanted. A significant discovery however through this initial reading was that the Chines were used through many eras of British history as a route and as storage space (amongst other things) for smugglers. This narrative made sense considering my limited knowledge on the subject of smuggling, but also threw up more questions that I needed to further research.

Another noteworthy story concerning their natural characteristics was Bournemouth’s wider aim through tourism strategies (in the Victorian times) to promote the town as a health-benefiting town. The widespread planting of pines amongst other deciduous/evergreen trees and the designation of its current green areas not only effected the town’s landscape and image from there on in but also effected the Chines’ simultaneously.

From this knowledge I had garnered, I thought to express some of these notions and my impression of them visually. As well as keeping my journal documenting how my thought processes had changed, I wanted to move into a more graphic design centered sphere. I started by making concept collages that played with a keyword that I had learnt thus far visually e.g. sediment. I also compared visually the difference of people’s use of the Chines from the Georgian times to today. This served as practice for my Photoshop skills and generating visuals concerning collage, stylized forms and a postmodernist aesthetic. My interest in graphic design precedents then informed that this would be how I could visually express these concepts. I was happy overall with the outcome of these graphical forays but I still felt like I could explore the Chines history further in depth, and so a visit to the heritage section of the Bournemouth library was the next step.

The information I garnered from the Bournemouth library turned to be a key point in the project. I found most of the vital material was produced from the archives of the town’s own newspaper. I unearthed various newspaper articles discussing different material concerning the Chines, establishing the concept of a further narrative for each ravine.

I had previously (and continue to) desired to try and make any work that I produce concerning them individual to each Chine. Rather than trying to create something that encompassed all of the chines together, I preferred sticking to the view that each ravine could and should have its own product. I have felt this way ever since I knew that each Chine not only had its own name (and I wanted to explore that in more detail),

but also how each had its own relative size and character. The information I came across in the library only served to support this view of a collection of individual landscapes rather than a set of them. I was also able to read into the council’s archived documentation on the chines which proved to be of great help to me in learning the specifics of their history.

After a series of tutorials, I had amassed a series of concepts for some form of 3D work that could capture what I had learnt and what I could be learning throughout the project. I was really happy with these as concepts, as they saw to express different aspects of the chines in an eclectic but relevant mix. Through the sculptural forms I had planned to create, they could encapsulate the combination of topographical, geological and historical information that I had discovered over the course of my research. I went about inquiring in the workshop for how I could achieve some of these physical forms in real terms, as the concepts had an ambitious set of materials/techniques in place. I was relying on some of the university’s specialist machines in the workshop being available for my use which looked like the case at first. However, after a week of generating the relevant file types, I was very disappointed to find that the CNC (Computer Numerical Control) Machine (which formed a vital part of creating a topographic landscape of the Chines) was not available from the weeks that I had left of the project. I was also planning on using resin as my material of choice for creating ice-like sculptural forms, which I knew would need pre-prepared time slots at the very least. For the amount of resin I was looking to use, I was further disappointed to find that the University could not offer me their own resin resources and the amount I was looking to use would not only take up more time than I had available but also outstretch my bank balance. This was easily the most difficult and lowest point of my spirit during this unit, however all was not lost.

A more ‘man-made’ approach to 3D work was adopted from this point onwards. Rather than relying on the infrastructure of the workshop, a new material type in both cases was thought of after discussions with peers and tutors. From this point onwards (around the last quarter of the project), the negative forms I wanted to create would be made out of soap.

From this point, there was a wave of positivity in terms of my attitude and my practice. Soap could not only have many more variants to resin, but fitted perfectly with the work I had conducted in my previous Strategies For Practice 1 unit. Notions of using biodegradable/natural materials (gelatin – soap), casting objects in a translucent base and sculptural forms etc. have a direct correlation with my previous unit. The most pleasing part of this unit in terms of a psychological ‘positive’ was realising that this had been a creative coincidence, and only reinforced my confidence in my thought processes and methods.

The topographic model I was planning on using the CNC machine for, I would carve and sculpt manually according to relevant maps. This ‘man-made’ aesthetic and work process I felt would give my work more of a humanity and have more depth in some ways than a computer-generated version. So after wasting at least 2 weeks’ worth of time trying to plan my 3D work with workshop’s arrangements, I could focus on documenting the tests that would help me in achieving a beauty and tactile set of negative forms. The process of carving out the different Chines was not only surprisingly satisfying but quick compared to the week I may have been waiting on instead.

Please note; Strategies For Practice 1 study plan was left unobtainable after theft of laptop in late January 2014...

study plan masters project Following my recent work in practice and my work at both MA and BA (Hons) level, there are a number of avenues my Masters project could take. Through the parameters of spatial design, I have explored such themes as temporary spaces, nightclub culture, casting objects and negative sculptural forms. I am keen to use my work on these themes and also explore new techniques to try and complete a project that is relevant both to my studies and to myself.

This year has seen my practice evolve rapidly and be far more conceptual in its outcome when compared to my BA projects. An MA course inevitably incorporates a metaphorical ‘spread’ of practice, with project work producing less functional and more conceptual thought processes and outcomes. I felt that my work at BA level was a preparation in some ways to the kind of thinking that would encompass spatial work at MA level.

My projects at BA level centered on the exploration of one topic – that of nightclub culture. Using knowledge gained from my hobby and work as an occasional club DJ, I had first hand experience of the culture. I found that I became fascinated by the sociological context – the fact that the culture had a short history, grown only over the last 50 years, and yet it had developed such an important influence in contemporary life. I wrote my dissertation on the way in which spatial relationships have changed in nightclubs over that time, whilst trying to explore my own passion for the subject matter. Whilst writing this, I tried to look forward and use Interior Architectural values to design a progressive space (or spaces in this case) for a new kind of club culture. The ideas were interesting, but my downfall lay in overlooking the enormous scale of the project.

Themes incorporating lighting design as well as progressive and temporary spatial design continued to preoccupy my thoughts throughout this year. My original intention when going into the MA year was to stretch my practice outside my comfort zone. I feel so far I have accomplished this, as my work’s physical and psychological boundaries have been developed widely, using new techniques such as stills photography, casting, filmography and journal writing. This has led me towards different outcomes, as well as an evolution in my thought processes.

The work I undertook in my Strategies For Practice 1 unit was varied, and included stills film photography and cinematography, as well as casting and using biodegradable materials. When I was told by my tutor to choose a space in Bournemouth, the Chines appealed to me instinctively, and continue to do so. The original interest I felt has endured, and this is interesting on reflection, considering my usual frenetic and ephemeral thought processes. It was through the means of film (in both senses, of stills and cinema) that I explored the Chines and their characteristics. I was inspired by their relative rarity (the word ‘Chine’ is defined as a “steep-sided river valley where the river flows to the sea through, typically, soft eroding coastal cliffs of sandstone or clays” and only appears to exist on this small stretch of the south coast of England) and the fact that they represent a series of different spaces, as well as their beguiling natural beauty. Their position within Bournemouth’s narrative and image also led me to discover more about them (as some people don’t even know they exist who visit the town, myself included).

The process of using stills film photography as well as fine art approaches (casting fruit in gelatin) to explore the Chines was quite a leap of freedom. This compares with the more sterile and measured design reports that I would previously have had to produce in my BA projects.

I had a more phenomenological approach to the way in which I considered the Chines as I felt this was a more suitable approach for a series of idiosyncratic botanical landscapes. On reflection, I was trying to express a new general understanding for the landscapes I was dealing with and commencing my own narrative with the spaces.

The project ultimately left me wanting to learn about and explore the Chines more. For this last unit, Strategies For Practice 2, I have tried to look into their origin and use since their formation. The 3D outcomes I have produced through this project have been derived directly from the themes that I have researched. I started with information held at the University’s library, then the town’s library (heritage section) to a small museum in nearby Christchurch (the Red House Museum) to gain the information I have used. I have so far discovered the various theories concerning their geological origin, their predominant use in the Georgian (and beyond) period as well as their evolution up to their modern day primary use as a transitory walking route for many people (mainly dog walkers). That general overview has thrown up many further queries but my research has given me insight into the way that the Chines have progressed throughout their existence. I sourced a great amount of source material, and discovered that the Chines have been relatively ignored, through literature and other forms of text. I have had to apply critical thinking to try and string together the various texts that have come my way.

A major thematic discovery through my research was that of smuggling in the Chines. The subject of smuggling kept recurring through my research on the Chines (Red House Museum, Bournemouth Library Heritage Section etc). I felt it was such a prevalent topic in their history, that I should pay it particular attention. This manifested ultimately and unfortunately in an experimental graphic, as I was unable to complete my desired 3D ‘final piece’.

I had wanted to cast or ‘fossilise’ tangible representations of some form of narrative/characteristic for each chine in negative space form, via a piece of soap. The soap would have its own colour, transparency, scent and ideally Ultraviolet properties (glowing in the dark) that would in some cases link directly to the phenomenological characteristics of the site (the essence of pine trees in the smell for example). These characteristics came to be from vigorous home testing, such as trying red food colouring. I decided to use soap as a medium because of its ease of use, non-toxicity and a direct link back to the physical features of the gelatin I used as a casting material in the Strategies Practice 1 unit earlier in the year i.e. transparent, biodegradable as well as being meltable.

The soap would be taking the form of the voids/negative spaces of the Chines (similar to sculptor Rachel Whiteread’s work). This would represent not only the physical landscape but also the metaphorical geological evolution of the spaces over the course of their existence. I was happy with undertaking work that followed these ideas, as they seemed to match up well and create a ‘wholeness’ to the conceptual backing of the project. The trouble I had was in trying to convey the historical data I had found in these 3D forms. I felt this was an area I did not fully address/match up to the rest of the project, and perhaps the first step in looking to the up and coming Masters Project.

After leaving ideas of nightclub culture, lighting design and temporary spaces behind from the start of the year, I feel I should make use of my extensive knowledge of these subjects. I am hoping that I may be able to move into a lighting design-based practice after I graduate this year, so it would also make sense in reference to my personal career development to incorporate such an approach during the project. Nightclub culture is something that is still a huge part of my life outside of my practice, so I feel some reluctance not to make use of my knowledge of that subject. However, this may be irrelevant to my on-going desire to discover more about the Chines. As I learn more of their history, I am drawn more to share with others their beauty. I would feel it a shame not to be able to complete my research into them over this year.

In addition, it has been fun and liberating using fine art techniques for this project. Producing 3D sculptural work in comparison with the more formulaic projects I was completing during my BA study has been a smoother transition internally than I might have thought. I would like to continue these themes for the upcoming Masters Unit, whilst trying to incorporate elements of lighting design, or some elements from Nightclub culture into my practice. Working in resin to a higher technical degree (in comparison to soap) would also be a natural next step in my use of casting.

One thing I want to continue is a study and exploration of the Chines, perhaps looking at their usage and contemporary town planning issues. I would like to apply progressive creative ideas to them whilst also paying tribute to their rich and varied history that I have explored in this previous unit. I look forward to feedback on this project’s worth and advice on where to take this next Masters Project too.

section 2 curriculum vitae

previous curriculum vitae 04 / 10 / 90 Mobile - 07896577783 University Address 2 Parker Road Winton Bournemouth BH9 1AY Home Address 6 Stratton Close Merton Park London SW19 3JF

Curriculum Vitae Eductation

Qualifications

2013 - Present

Arts University Bournemouth MA (Arch) Spatial Practices

2010 - 2013

Arts University Bournemouth BA (Hons) Interior Architecture & Design

2009 - 2010

Wimbledon School Of Art (UAL) Foundation Diploma in Art & Design

2007 - 2009

Esher Sixth Form College AS/A2 Levels: Applied Art & Design (Dual Award); History; Sociology

2002 - 2007

Kingston Grammar School Kingston Upon Thames

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This is my curriculum vitae that I started the year with. I had to complete a copy for my then current Professional Development Portfolio. I was using a graphical style that I felt suited my work at the time. The images to the right of the image include second year work (top right) and an inclusion of an installation that fell under an industry liaison.

Towards the end of the second year of my BA (Hons) course in Interior Architecture, I was involved in creating a light installation for Sutton Vane (based in London) for the Arts By The Sea festival in August 2012.

The project was hugely beneficial to my work and informed a lot of my university-based projects, namely the principles of lighting design and being involved in the undertaking of live events.

The overall aesthetic of this CV was also to be applying for lighting design-practices, hence the focus on the RGB colour scale in my logo/ business card designs shown at the top. At the time, I was vaguely working towards applying to work at Michael Grubb Studio. Michael Grubb, being who had worked at Sutton Vane previously and had since my involvement with him at the Arts By The Sea festival had formed his own practice. Before furnishing and using his studio, Michael Grubb allowed me to construct my large model on the premises which further cemented my desire to try and work with his company. The model’s outline has been shown as the layout of the business card/logo in the top left as well as the block colours and rings (which made up the road

systems in the model. The photos and images to the right hand side were meant to aid the aesthetics of the business card layouts, as well as illustrate my range of skills (3D work, AutoCAD work, sketching/rendering).

I was aware that as my practice continued to evolve and deviate from my work of previous years, my CV would have to keep up with this also. After around 5 or so months into the course, I decided that if I am to apply to any new jobs I would have to update my look.

http://cargocollective.com/RoryJohnson http://rory-johnson.tumblr.com/ https://twitter.com/RoryGVFJohnson

Above shows my first attempt at a new Curriculum Vitae, with a font I had a previous liking for. I included some more recent graphic design work as well as 3D modeling and a new logo (which I will go into further into this report) to show a development of my skills and to once again illustrate my range of skills to employers. I decided to try and plainly arrange my personal details and skills to bring out the images at the bottom and in general have a complimentary aesthetic the other bright colours shown through the CV.

Below I tried a different font to give more of a consistent aesthetic to the page (as I had lifted the writing above from the previous CVm leaving it quite bitty graphically). I was still not happy with the font though and wanted to continue experimenting with it.

At this point I was happy with the overall layout but wanted to alter and prefect the font/graphical style.

Curriculum Vitae Eductation 2013 - Present

Arts University Bournemouth MA (Arch) Spatial Practices

2010 - 2013

Arts University Bournemouth BA (Hons) Interior Architecture & Design

2009 - 2010

Wimbledon School Of Art (University of the Arts London) Foundation Diploma in Art & Design

2007 - 2009

Esher Sixth Form College AS/A2 Levels: Applied Art & Design (Dual Award); History; Sociology

2002 - 2007

Kingston Grammar School Kingston Upon Thames

Skills and Strengths • Good team player, intelligent, responsible, polite and conscientious.

• Happy to work hard, eager to gain experience and learn new skills • Able to produce strong conceptual visions (won award for ‘Most innovative project’ for Extended Major Project during BA (Hons) Interior Architecture final year.

• Good and positive social skills Achivements Club Dj for 6 years, playing venues across both Bournemouth (Old Firestation, Orange Rooms, The Winchester) and London (Ice Bar, Rhythm Factory, Egg London).

Linkedin - http://www.linkedin.com/pub/rory-johnson/67/5a1/7a

Qualifications

Programmes

BA (Second Class Honours) in Interior Architecture and Design

Adobe Package CL6 AutoCAD 2014 Sketchup 8 Rhino 5

Foundation Diploma (With merit) in Interior Architecture Foundation Diploma (With Merit) in Art & Design 3 A2 levels + 4 AS Levels Arts and Design Double Award BB; Sociology C; Art and Design AB Sociology B, History D 9 GCSEs Maths B (A* in coursework); English Language B; English Literature C; French B; Art B; Double Science Award C-C; History A; Geography A Work Experience Septmeber 2013 Michael Grubb Studio; Arts By The Sea Festival; “Lost Light” Assistance through collaboration of light Installations throughout Bournemouth Gardens.

October 2013 - May 2014 AUB; Shadowing tutor and mentor to Interior Architecture students; taking part in group tutorials to third year undergraduates and being a part of final presentation panels.

August 2012 Sutton Vane Associates; Arts By The Sea Festival; Light trail,; Curation and construction of “AUCB at the Underpass”: A light and sound installation between the pillars of the underpass connecting the gardens to the pier; light was projected on to a visual wrap in time with music turning an empty space into a tangible event.

July 2007, 2009, 2011 AHMM (Allford Hall Monaghan Morris) Architects, Barbican, London, EC1.

Contact Jonathan Rixon - 07949946798

Website Links http://cargocollective.com/RoryJohnson

http://rory-johnson.tumblr.com/ https://twitter.com/RoryGVFJohnson

Curriculum Vitae Eductation 2013 - Present 2010 - 2013 2009 - 2010 2007 - 2009

2002 - 2007

Arts University Bournemouth MA (Arch) Spatial Practices Arts University Bournemouth BA (Hons) Interior Architecture & Design Wimbledon School Of Art (University of the Arts London) Foundation Diploma in Art & Design Esher Sixth Form College AS/A2 Levels: Applied Art & Design (Dual Award); History; Sociology Kingston Grammar School Kingston Upon Thames

Skills and Strengths • Good team player, intelligent, responsible, polite and conscientious.

• Happy to work hard, eager to gain experience and learn new skills • Able to produce strong conceptual visions (won award for ‘Most innovative project’ for Extended Major Project during BA (Hons) Interior Architecture final year.

• Good and positive social skills Achivements Club Dj for 6 years, playing venues across both Bournemouth (Old Firestation, Orange Rooms, The Winchester) and London (Ice Bar, Rhythm Factory, Egg London).

Linkedin - http://www.linkedin.com/pub/rory-johnson/67/5a1/7a

Qualifications

Programmes

BA (Second Class Honours) in Interior Architecture and Design

Adobe Package CL6 AutoCAD 2014 Sketchup 8 Rhino 5

Foundation Diploma (With merit) in Interior Architecture Foundation Diploma (With Merit) in Art & Design 3 A2 levels + 4 AS Levels Arts and Design Double Award BB; Sociology C; Art and Design AB Sociology B, History D 9 GCSEs Maths B (A* in coursework); English Language B; English Literature C; French B; Art B; Double Science Award C-C; History A; Geography A Work Experience Septmeber 2013 Michael Grubb Studio; Arts By The Sea Festival; “Lost Light” Assistance through collaboration of light Installations throughout Bournemouth Gardens.

October 2013 - May 2014 AUB; Shadowing tutor and mentor to Interior Architecture students; taking part in group tutorials to third year undergraduates and being a part of final presentation panels.

August 2012 Sutton Vane Associates; Arts By The Sea Festival; Light trail,; Curation and construction of “AUCB at the Underpass”: A light and sound installation between the pillars of the underpass connecting the gardens to the pier; light was projected on to a visual wrap in time with music turning an empty space into a tangible event.

July 2007, 2009, 2011 AHMM (Allford Hall Monaghan Morris) Architects, Barbican, London, EC1.

Contact Jonathan Rixon - 07949946798

At this stage, I was satisfied enough with the layout and aesthetic of my page, as well as the work I was including. I needed to polish off the graphics, by asking the opinion of a few trusted classmates around me.

It was recommended that I take out the margin lines and leave a more minimal layout that would feel more readable. The opposite page illustrates the final small graphical updates I made on the document, and it was one that I did end up sending to Michael Grubb Studio for a vacancy.

Website Links http://cargocollective.com/RoryJohnson

http://rory-johnson.tumblr.com/ https://twitter.com/RoryGVFJohnson

Arts University Bournemouth BA (Hons) Interior Architecture & Design

Wimbledon School Of Art (University of the Arts London) Foundation Diploma in Art & Design

Esher Sixth Form College AS/A2 Levels: Applied Art & Design (Dual Award); History; Sociology

Kingston Grammar School Kingston Upon Thames

2010 - 2013

2009 - 2010

2007 - 2009

2002 - 2007

Linkedin - http://www.linkedin.com/pub/rory-johnson/67/5a1/7a

Club Dj for 6 years, playing venues across both Bournemouth (Old Firestation, Orange Rooms, The Winchester) and London (Ice Bar, Rhythm Factory, Egg London).

• Good team player, intelligent, responsible, polite and conscientious.

• Happy to work hard, eager to gain experience and learn new skills • Able to produce strong conceptual visions (won award for ‘Most innovative project’ for Extended Major Project during BA (Hons) Interior Architecture final year.

• Good and positive social skills, able to give confident presentations.

Achivements

Skills and Strengths

Arts University Bournemouth MA (Arch) Spatial Practices

2013 - Present

Eductation

Curriculum Vitae

July 2007, 2009, 2011 AHMM (Allford Hall Monaghan Morris) Architects, Barbican, London, EC1.

Contact Jonathan Rixon - 07949946798

August 2012 Sutton Vane Associates; Arts By The Sea Festival; Light trail,; Curation and construction of “AUCB at the Underpass”: A light and sound installation between the pillars of the underpass connecting the gardens to the pier; light was projected on to a visual wrap in time with music turning an empty space into a tangible event.

October 2013 - May 2014 AUB; Shadowing tutor and mentor to Interior Architecture students; taking part in group tutorials to third year undergraduates and being a part of final presentation panels.

September 2013 Michael Grubb Studio; Arts By The Sea Festival; “Lost Light” Assistance through collaboration of light Installations throughout Bournemouth Gardens.

Work Experience

9 GCSEs Maths B (A* in coursework); English Language B; English Literature C; French B; Art B; Double Science Award C-C; History A; Geography A

3 A2 levels + 4 AS Levels Arts and Design Double Award BB; Sociology C; Art and Design AB Sociology B, History D

Foundation Diploma (With Merit) in Art & Design

https://twitter.com/RoryGVFJohnson

http://rory-johnson.tumblr.com/

http://cargocollective.com/RoryJohnson

Website Links

Home Address 6 Stratton Close Merton Park Wimbledon London SW19 3JF

University Address 2 Parker Road Winton Bournemouth BH9 1AY

Mobile No. - 07896 577783

04 / 10 / 90

Adobe Package CL6 AutoCAD 2014 Sketchup 8 Rhino 5

BA (Second Class Honours) in Interior Architecture and Design Foundation Diploma (With merit) in Interior Architecture

Programmes

Qualifications

website / blog development

As my practice developed and previous projects became more obscure in comparison to new work, I realised I needed to evaluate the aesthetics that were advertising and in turn informing myself. The screenshot above shows the previous layout of my website, where I was trying to promote myself and my work more in a lighting design context which I did like, but did not fit with the constant subtle altering of my practice this year.

I knew that I did not want to restrict myself to the confides of the principles of lighting design, as I knew that my thought processes were becoming more complex and conceptual. As fine art precedents started to infiltrate my critical framework, so did I start to ponder having more of an ambiguous artistic style for my web presence. I have had a Cargo Collective account for my website and a Tumblr to support my web presence/following and to help support discovering research in my work.

After working on my blog’s output and updating settings (as shown to the right), I have now gathered over 200 followers, improving my social media presence also. I have tried to use social media in a canny way over the academic year, keeping up connections and having easier access to current precedents.

My social media presence is something that I have a natural preference to use too, so I have also added other websites to my arsenal.

Linkedin was a site I knew I might be able to benefit from in terms of employment opportunities as well as keeping an eye on the competition.

I have since kept on updating my details and trying to learn more about creative industries, with other websites such as dezeen jobs reinforcing what the stakes are currently for employment in those companies. The ability for peers and tutors to enforce certain skills of mine has been an interesting development also, as I have learnt on a wider scale what skills others perceive me being best at.

Twitter is another platform that I have tried to use cannily throughout the academic year to reinforce connections and spread my web precense further. The ability to directly communicate with other members be they practices or professionals has been very effective in sharing my practice in a wider context also.

I realised I needed to change my banner/logo and create more of an all-encompassing look to each of my social media outlets and my website.

website / blog development

To start off creating a new aesthetic for myself, I sought advice off of a connection I had made via the social media I have kept up so meticulously and religiously. I thought to get someone else’s perspective on the current outlets I had and discuss a new look.

1

2

As described above, I was recommended to look into the idea of basing my new logo/look on the pallette of bright/sharp colours on top of greys/plain backdrops. I thought the aesthetic niche she was describing was a strong one that I could benefit from a lot.

The font described was also something I liked a lot also and saw it as a good vessel to strike out above the crowd. I had never attempted to design my own font, and saw “Lotte Paperfang” as the right one to go forward with. The striking sans-serif look also made me think it might be a good basis to create a new logo out of.

My website, Twitter and Tumblr had previously lacked a uniform appearance also which I wanted to rectify.

3

Figure 1, 2 - Untitled Sketch - Jennifer Mehigan Figure 3 - Bloomingdales Shopping Bags Figure 4 - Poster - by Paul-Henri Schaedelin

4

logo development With the ‘Lotte Paperfang’ font at my disposal, I looked to how I could create a pastel colour-way that would work effectively. I began to look at interesting textures and images that I had already produced through the year and thought one of the most striking images I had made was the soap negative casting of Branksome Dene Chine and the refractions of colour that it had.

I was willing to experiment with effects and layers in Photoshop to find the exact look that I wanted, and the 3 images to the right show the development of these experiments. I at first looked at which of the effects I liked and which I could move forwards with, and realised I would need to alter a few settings to get the right pastel palette.

The last image shows the one that clicked with me as the basis of a background colour for the font. The screen shot below shows the development of the logo, also from the deviation from two lines of text to one line. I also really liked the ‘s’ as part of the logo, which I could see as a viable favicon also.

The opposing page shows the current first appearance of my website (run on Cargo Collective) as well as my Twitter/Tumblr home pages. Looking at all three, I think there is a contingency that does not suggests more of a graphic design aesthetic. I wanted to leave more of an ambiguous set of images, especially on my website, with a variety of photography, sketching and installations shown. As I am still unsure at my own practice, which seems to encompass sculpture, spatial design, photography and graphic design. I am currently in the process of completing my Masters Project, which I’m sure will have its own impact on my web output. It’s currently irritating for me that I cannot impose a more narrowed niche of my own, but this more ambiguous and mysterious appearance is enough for me currently.

cargo collective

twitter

tumblr

Section 3 Tutorial Preparation During my BA (Hons) course in Interior Architecture & Design, I would come to realise the importance of the tutorial for projects to progress. I would really try and use them to my full ability to kick onto the next stage of whatever project was taking place. I adapted to this more so in this MA year, as my mentor Russell Gagg would send me copies of his notes during the tutorial overviewing his thoughts on what I was saying to him digitally, to keep a record of them so I would not forget what had been discussed. I would also commonly write notes during the tutorials for my own memory and benefit in the long run.

In my reflective journal, I would also try to write my thoughts on the work and try to contemplate what had been said as honestly as possible to help keep my thought processes straight.

In order to get the best out of the tutorial, rather than keep a form or pre-ordained order, both my work and personality made the recourses that I would need to show the tutor more sporadic. I would prepare more mentally to really hone in on getting the best out of the time alloted as possible, while also bringing along sketchbooks/precedents/my laptop to the session. Below shows an example of my notes on a given tutorial with MA (Architecture) Spatial Practices tutor Russell Gagg.

section 4 Industry liasons

arts university bournemouth

michael grubb studio

Russell Gagg

Micahel Grubb

rgagg@aub.ac.uk

info@michaelgrubbstudio.com

Interior Architecture & Design Department Arts University Bournemouth Wallisdown Poole Dorset BH12 5HH

Michael Grubb Studio 2 Bryanstone Walk Winton, Bournemouth BH9 2GA

01202 533011 During this past academic year, I was invited by the leader of the Interior Architecture department to be a part of tutoring the final years’ students work. I was already issuing casual advice and independent/ spontaneous guidance on student’s work that I had been carrying out otherwise as I had known a few of the undergraduates personally. Aside from this, I was asked around November 2013 to be leading a tutorial alongside the other postgraduates in the Spatial Practices course for the undergraduates ongoing project. Together with the other members of my course (two others), we set about giving them a kind of guidance and ‘halfway house’ for the undergraduates. Being a recently graduated member of the same course, I knew I could be of some help to the students in more domestic and personal queries.

After a few of these sessions which were undertaken successfully, I was asked to sit on the panel for the undergraduates’ final presentation in the last few weeks of the first term. I could often offer advice to the students and felt comfortable alongside the tutors in giving honest feedback.

In and around these designated times, I would try and visit the department from time to time to offer council and advice also. As the students continued through their projects as I did also, the need for the tutorials lessened and I was asked again to the sit on the board for the Extended Major Project final presentations. I felt like I had the role of halfway-house between the students and the tutors throughout the year, where I would learn the professional ways in which tutors would give and receive advice.

+44 (0)1202 511005 I had worked with Michael Grubb Studio before the start of the year on small installations as well as helping conceive and construct a temporary lighting installation for them (when the members of the practise were then a part of Sutton Vane) as part of a light trail for the Arts By The Sea Festival in 2012. I had kept in contact with the team members since and had Michael Grubb help look over my Extended Major Project as an undergraduate.

I had previously applied to be a part of their full time staff more for the practice of updating my CV and portfolio towards the end of the academic year in 2013 (as I was starting this postgraduate course, I could not commit to a full time position). But I was keen to still help and be a part of their projects if and where I could. When it came to a winter Arts

By The Sea Festival in 2013, I was called upon to help with manual labour in constructing some of the beach huts that were erected through Bournemouth gardens. I was also sought after for creative advice on projections that were being implemented in a few of their beach huts and to help add sound to another beach hut. I was asked to wire up and rig large lights to illuminate a large hot air balloon in the central gardens also. I was once again directly helping and impacting implement in a live public installation-based project with a very large footfall of the public directly involved. This footfall led to myself also having to act as security to a few of the beach huts to prevent damage.

I then saw a vacancy with the company in June of 2014. I had previously been thinking about how my skills and good personal relationships with the team members would make for a good first job in the industry.

I had also used and embraced lighting design principles in my undergraduate work, so saw it as a good fit. I sought to update my website, CV and professional blog in accordance with applying and wrote a cover letter for the position (which can be found on the page opposite).

Unfortunately, I could not take on the vacancy due to my finish time on this MA course as they needed someone immediately. After a football tournament, barbecue and drinks evening organised by the practice, I was able to correspond directly with Michael Grubb about applying in the future and was given very useful council on when they may be offering further positions.

michael grubb studio covering letter for vacancy I feel I should be your new design assistance as I fit your parameters perfectly. I was very excited when I first saw the job advertised as it would gave me the opportunity to try and prove to you why I am the right man for the job. As I continue to study for a Masters degree in Spatial Design not only is my creativity tested daily, but my conceptual skills have grown substantially over the course of this year. My BA (Hons) in Interior Architecture & Design pushed me to explore these areas, to the point that I was awarded ‘Most Innovative Project’ for my Extended Major Project. Creativity is core to my working philosophy, I strive to use it both in design terms and also any other elements that I come into contact with; sociological or environmental areas for example.

I have always sought to help and work with your company ever since its creation as I’ve felt your working philosophy aligns with mine. After working on two Arts by The Sea public installations with your practise and sitting in on a lecture that outlined your portfolio and ideology, I was awestruck and have been keen to be involved with any projects you are working on since.

I felt confident in curating and constructing the installation for the Light Trail at Arts By The Sea in 2012 after been giving creative freedom by your practise. After much valuable advice and direction in completing the vision Daniel and I had seen, it felt like a privilege to have the installation alongside your other dazzling ones. If I were to be involved with your projects, I would feel positive about expressing my many ideas after the professional consultation I was given my Michael Grubb during the early stages of my Extended Major Project in the final year of my undergraduate degree.

Communication of my ideas is something I have focused on in particular during my university years. Aside from verbally, I feel I can confidently communicate through digital media but also drawing, which I take pride in. My experience with your creative team in past discussions/live projects has helped in this process and I feel as though I communicated well with them across any medium required.

The past involvement with your practice should also show that I am a keen team player and am very well versed in collaboration, through my creative enterprises alongside other course areas in the Arts University Bournemouth that continue to this day. The sense of collaboration through working with your team has really helped me carve out my own niche and creative decisions throughout my university education.

Every time I come to your studio, I am struck by the ease of communication between each team member and confidence in each other’s ability, which I would not only love to be a part of but feel I could thrive on to help your company on future projects. It is not only the mood and social aspects that I have valued but also the sense that you and your team are at the centre of each project’s vision, which I deeply admire.

I would like to think my involvement with your practice over the past two years or so would show how well I would fit both socially and creatively. I am eager to work hard and help be a part of the projects that you undertake. I feel I can bring certain aspects of my personality through your work too as my experience in music and live events would apply well when adding to your portfolio.

section 5 Reflective discourse (please refer to reflective journal hard copy)

section 6 personal bibliography (also please refer to personal blog; http://rory-johnson.tumblr.com/archive

websites

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• designboom | architecture & design magazine, (2014). designboom | architecture & design magazine - designboom magazine | your first source for architecture, design & art news. [online] Available at: http://www.designboom. com/ [Accessed 15 Jul. 2014].

• Uva.co.uk, (2014). United Visual Artists. [online] Available at: http://uva. co.uk/ [Accessed 15 Jul. 2014].

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• Michaelgrubbstudio.com, (2014). Michael Grubb Studio Lighting Designers London & UK. [online] Available at: http://michaelgrubbstudio.com/ [Accessed 15 Jul. 2014].

• Arts University Bournemouth, (2014). Arts University Bournemouth (AUB). [online] Available at: http://aub.ac.uk/ [Accessed 15 Jul. 2014].

• Dezeen, (2014). Dezeen - architecture and design magazine. [online] Available at: http://www.dezeen.com/ [Accessed 15 Jul. 2014].

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• michael nelson’s blog, (2010). Maya Lin. [online] Available at: http://michaelrobertnelson.wordpress.com/2010/09/21/maya-lin/ [Accessed 15 Jul. 2014].

previous bibliography examples Strategies For Practice 2 1) Whiteread, R., Corrin, L., Elliott, P. and Schlieker, A. (2001). Rachel Whiteread. 1st ed. Edinburgh: National Galleries of Scotland.

2) Mabey, W. (1978). Bournemouth in 1868. 1st ed. Bournemouth (40 Lowther Rd, Bournemouth [Dorset]): Bournemouth Local Studies Publications.

3) Smith, G. (1995). Hampshire & Dorset shipwrecks. 1st ed. Newbury: Countryside Books.

4) Morley, G. (1983). Smuggling in Hampshire and Dorset, 1700-1850. 1st ed. Newbury, Berkshire: Countryside Books.

12) Tate.org.uk, (2006). Rachel Whiteread: Shedding Life | Tate. [online] Available at: http://www.tate.org.uk/whats-on/tate-liverpool/exhibition/rachel-whiteread-shedding-life [Accessed 2 Jul. 2014].

13) @stylehatch, S. (2014). Japanese miniature artist Takahiro Iwasaki | Exhibition-ism. [online] Exhibition-ism. Available at: http://exhibition-ism. com/post/44078853868 [Accessed 2 Jul. 2014].

14) Lucas, J. (2014). An entry from Alleviating Fluctuating Fluid Territories. [online] Donaldmatt.tumblr.com. Available at: http://donaldmatt.tumblr. com/post/75263000708/tiered-landscape-perspective-exploring-the [Accessed 2 Jul. 2014].

15) Printedpagesmagazine.com, (2014). Printed Pages. [online] Available at: http://printedpagesmagazine.com/ [Accessed 2 Jul. 2014].

5) Young, D. (1957). The story of Bournemouth. 1st ed. London: R. Hale.

16) asapscience, (2013). The Glasswinged Butterfly. [online] Available at: http://asapscience.tumblr.com/post/68294856978/the-glasswinged-butterfly-the-pretty-creature [Accessed 2 Jul. 2014].

6) Tumblr, (2014). softpyramid-maya-lin-blue-lake-pass-2006. [online] Available at: http://rory-johnson.tumblr.com/post/73829757145/softpyramid-maya-lin-blue-lake-pass-2006 [Accessed 19 Jan. 2014].

17) Akanemoriyama.com, (2013). Akane Moriyama. [online] Available at: http://akanemoriyama.com/works/CubicPrism/001/index.html [Accessed 2 Jul. 2014].

7) Young , J.A. 1989. The Story of Southbourne. Bournemouth Local Studies Publications, The Professional Education Centre, 40 Lowther Road, Bournemouth, BH8 8NR. No. 695. 50pp.

18) http://cargocollective.com/garethfowler, (2014). Gareth Fowler Tumblr. [online] Available at: http://garethfowler.tumblr.com/post/74938954170/ layers [Accessed 2 Jul. 2014].

8) Rory-johnson.tumblr.com, (2013). Rory Johnson Tumblr. [online] Available at: http://rory-johnson.tumblr.com/ [Accessed 28 May. 2014]. - All inspiration can be found here.

19) AQQ Index, (2013). aqqindex. [online] Available at: http://aqqindex.com/ post/49214154634/steven-lisberger-tron-1982 [Accessed 2 Jul. 2014].

Photo Development Essay - Masters Project 1) Tumblr, (2014). What a pretty stranger. [online] Available at: http://whataprettystranger.tumblr.com/post/40577782978/philip-govedare-excavation-6-2010 [Accessed 2 Jul. 2014].

2) Tumblr, (2014). url irl. [online] Available at: http://autosafari.tumblr.com/ post/76122756157 [Accessed 2 Jul. 2014].

3) Teresamoller.cl, (n.d.). Punta Pite — Teresa Moller. [online] Available at: http://www.teresamoller.cl/web/portfolio/punta-pite/ [Accessed 2 Jul. 2014].

4) Tumblr, (2014). -. [online] Available at: http://blog.sharongong.com/ post/44418075903 [Accessed 2 Jul. 2014].

5) PDN Photo of the Day, (2013). Outlinining Outstanding Buildings. [online] Available at: http://potd.pdnonline.com/2013/11/24623 [Accessed 2 Jul. 2014].

6) Arthur Erickson, (n.d.). Arthur Erickson - expo-’67-theme-pavilions - 1. [online] Available at: http://arthurerickson.com/cultural-buildings/expo-’67-theme-pavilions/1/ [Accessed 2 Jul. 2014].

7) Benjamincarpenter.com, (2013). Groovy | Benjamin Carpenter. [online] Available at: http://www.benjamincarpenter.com/backbone-radiation/ groovy/ [Accessed 2 Jul. 2014].

8) Randomitus.tumblr.com, (2013). Randomitus. [online] Available at: http:// randomitus.tumblr.com/post/79952176395 [Accessed 2 Jul. 2014].

9) Flickr, (2012). The Phantom Crystal. [online] Available at: https://www. flickr.com/photos/simonepaddockphotography/6833044307/ [Accessed 2 Jul. 2014].

10) Archive.newmuseum.org, (2010). New Museum - Digital Archive. [online] Available at: http://archive.newmuseum.org/index.php/Detail/Occurrence/Show/occurrence_id/1089 [Accessed 2 Jul. 2014].

11) Artrabbit.com, (2009). Sometimes Making Something Leads to Nothing at Ingleby Gallery. [online] Available at: http://www.artrabbit.com/all/ events/event/9945/sometimes_making_something_leads_to_nothing [Accessed 2 Jul. 2014].

20) Americanhistory.si.edu, (n.d.). Freeze Frame. [online] Available at: http:// americanhistory.si.edu/muybridge/index.htm [Accessed 2 Jul. 2014].

21) Hildahellstrom.se, (2014). www.hildahellstrom.se. [online] Available at: http://hildahellstrom.se/ [Accessed 2 Jul. 2014].

22) Giannipettena.it, (n.d.). Gianni Pettena - Works - About non-conscious architecture. [online] Available at: http://www.giannipettena.it/opere/eng/ aboutnonconscious/ [Accessed 2 Jul. 2014].

23) Liveauctioneers.com, (2013). MILES VAN RENSSELAER “Jari Jari Gelas...” : Lot 568. [online] Available at: http://www.liveauctioneers.com/ item/17784464_miles-van-rensselaer-jari-jari-gelas [Accessed 2 Jul. 2014].

24) Flickr, (2013). warm air. [online] Available at: https://www.flickr.com/ photos/cementstars/8628529907/ [Accessed 2 Jul. 2014].

25) The Creators Project, (2013). Artist Candas Sisman Reinvents Reality

By Shifting The Way We Think About Digital Data | The Creators Project. [online] Available at: http://thecreatorsproject.vice.com/blog/artist-candassisman-reinvents-reality-by-shifting-the-way-we-think-about-digital-data [Accessed 2 Jul. 2014].

26) Ryanmcginley.com, (2012). Photographs | Ryan McGinley. [online] Available at: http://ryanmcginley.com/photographs/ [Accessed 2 Jul. 2014].

27) hiclyd, (2014). argentravel. [online] Available at: http://hiclyd.tumblr. com/post/46151148018/argentravel [Accessed 2 Jul. 2014].

28) Artic.edu, (2009). focus: Monica Bonvicini—Light Me Black | The Art Institute of Chicago. [online] Available at: http://www.artic.edu/exhibition/ bonvicini [Accessed 2 Jul. 2014].

29) Flickr, (2012). Honeycombe Chine, Boscombe, Bournemouth, Dorset. [online] Available at: https://www.flickr.com/photos/alwyn_ ladell/7703186910 [Accessed 2 Jul. 2014].

30) Colossal, (2013). PyroPet Candles Melt into Creepy Metallic Skeletons. [online] Available at: http://www.thisiscolossal.com/2013/10/pyropet-candles-melt-into-creepy-metallic-skeletons/ [Accessed 2 Jul. 2014].

31) Baecker, R. (2014). Mirage. [online] Vimeo. Available at: https://vimeo. com/92228818 [Accessed 2 Jul. 2014].

filmography 32) Corcoran.org, (2009). Systematic Landscapes. [online] Available at: http://www.corcoran.org/sites/default/files/MayaLinTeachersPacket.pdf [Accessed 2 Jul. 2014].

33) Flickr, (2007). Untitled. [online] Available at: https://www.flickr.com/photos/40347727@N00/983237713/in/faves-yufanghsu/ [Accessed 2 Jul. 2014].

34) Amusingplanet.com, (2013). Taum Sauk Hydroelectric Power Station | Amusing Planet. [online] Available at: http://www.amusingplanet. com/2013/04/taum-sauk-hydroelectric-power-station.html [Accessed 2 Jul. 2014].

books / journals

• The Eye - Boyle Family. (2005). [DVD] UK: Illuminations.

• Carson, J. (2010). ...40 Shades of Green. [online] Vimeo. Available at: https://vimeo.com/9919192 [Accessed 15 Jul. 2014].

• Vimeo, (2013). virtual Derive. [online] Available at: https://vimeo. com/73639977 [Accessed 15 Jul. 2014].

• Baecker, R. (2014). Mirage. [online] Vimeo. Available at: https://vimeo. com/92228818 [Accessed 15 Jul. 2014].

• Project, T. (2014). Distorting Space and Time | United Visual Artists’ Momentum. [online] Vimeo. Available at: https://vimeo.com/88665415 [Accessed 15 Jul. 2014].

• Vimeo, (2014). 320° LICHT | SPATIAL EXPERIENCE. [online] Available at: https://vimeo.com/91599638 [Accessed 15 Jul. 2014].

• Barber, P. and Harper, T. (2010). Magnificent maps. 1st ed. London: British Library.

• YouTube, (2014). Robinson in Space. [online] Available at: https://www. youtube.com/watch?v=XY2O16FmHxs [Accessed 15 Jul. 2014].

• Child, H. (1956). Decorative maps. 1st ed. London: Studio Publications.

• Lilla, B. (2012). Submerged Turntable. [online] Vimeo. Available at: https:// vimeo.com/38449496 [Accessed 15 Jul. 2014].

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• Green, L. and Bernstein, J. (1986). Beyond image. 1st ed. London: Arts Council of Great Britain.

• Harmon, K. (2004). You are here. 1st ed. New York: Princeton Architectural Press.

• Harvey, P. (1980). The History of Topographical Maps, Symbols, Pictures and Surveys. 1st ed. London: Thames & Hudson Ltd. • Jacobs, F., Kessler, F., Howells, T. and McCorquodale, D. (2010). Mapping America. 1st ed. London: Black Dog Pub. • O’Rourke, K. (n.d.). Walking and mapping. 1st ed.

• Sheffield, C. (1983). Man on earth. 1st ed. New York: Macmillan.

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• Solnit, R. (2000). Wanderlust. 1st ed. New York: Viking.

• RACHEL WHITEREAD. [The eye]. (2005). [DVD] Santa Monica, California: The Eye. • Whiteread, R., Dennison, L. and Houser, C. (2001). Rachel Whiteread. 1st ed. New York, N.Y.: Guggenheim Museum Publications.

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section 7 statement of practice Using academic theory, my practice through this year has adapted to a wider study of space as we understand it. The outdoor environment has been something I have used increasingly as the subject matter in my work. This is counter to the Interior-based work I conducted for my undergraduate practice and shows a development in my work.

Throughout this postgraduate course, I have focused my studies on a series of idiosyncratic lush green spaces that have occupied dried up river valleys; namely the Chines of Bournemouth. They occupy spaces inbetween the suburban and metropolitan physically and act as a route to the beach whilst embedding organic and tranquil senses to those that use them. My work has been creatively enriched by their niche and untamed nature. The canopy that lowers the temperature inside these valleys creates a physical and metaphorical ceiling that blurs the lines between exterior and interior.

My practice has adapted to this change in landscape by looking into geological and geographical data as well as the art of mapping. I also found more value in the historical back-story to these spaces, finding sculpture being the most suitable media in encompassing what I had learnt.

Biodegradable materials with their own lifespan and fragility were another aspect that has been embedded into my practice. After using fruit in my photography (another skill that has blossomed over the year), I came to using glycerin-based soap as my sculptural material. Experimentation such as this became a fixture of not only my physical artworks but also my thinking when approaching spatial practices.

My practice has become more experimental and theoretical than I could have envisaged it becoming previously. Walking has been a prominent way of me documenting and informing my work, as I have continuously soaked up my environment while leaving me time and opportunity to reflect on how the space is impacting me.

section 8 research methods

In this document I shall through a dialogue, seek to search, critique and evaluate my chosen research methodologies around my given practice. I will elucidate the thought processes that inform my subject area, whilst trying to accurately expand upon my idiosyncratic methods of design research. I have always found the theoretical way in which my work progresses ready to adapt and use, as research is often my favourite part of a design project. However, I have persistently found it difficult to express how these methodologies manifest in practice, most likely due to my personal reservations and social anxieties.

Trying to explain ‘creativity’ is something that has alluded and frustrated the world for centuries and I like to think that my pithy struggle is involved in this debate. My practice could not be what it is without the countless hours of voluntary and involuntary research that I have conducted. A frequent criticism of my work is that a design report/ project of mine will have too much general precedent, while my original production is outweighed. A general overview of my design report will see at least a half of the project with research-led material, which is far too greater percentage in regards to the designated brief and comparative work. Overall research and its connotations has often unintentionally tarnished many-a design project that I have undertaken. I believe this is as a result of my pure and burning desire to learn, contextualise and discuss such important data. In the creative world we inhabit and supply, this is a notion that I think is more commonplace with a technological agency at its helm.

So far this academic year, I have been keeping a personal study journal pertaining to my personal thoughts regarding postgraduate work this year. As I have not kept such a document before, I am unaccustomed to its routines i.e. writing every day/night at regular intervals like a diary. Rather, I have used it more for a stop-gap between my recent memories and thought processes, should I forget or need reminding about previous design/critical decisions. It has also been used for the simple documenting of more rudimentary information such as place names/general qualitative data collecting. Although the written intervals have been scattered and irregular at times, that has been due to my naïveness on keeping such archives. It has been fortunately incidental to this unit however; as I have been meaning to keep an archive of such processes throughout my design life thus far.

My critical thinking never abates when it comes to any creative entity. Be it an exhibition, small piece of architecture or clothes I wear my brain never seems to stop in its relentless analytical judgment. No scale, media or socio-economic boundary breaks my instinct for evaluation of any culture (it can be disadvantageous in many situations).

At my age (twenty three), I feel that I am grounded firmly in the melting pot of maturity, where I am beginning to consolidate and crystallise where life’s creative approaches sit in regards to my own life. This naturally extends to my own very idiosyncratic research methods and design processes. Through several modes of textual analysis, I have (throughout my years of upper education) been subconsciously trying to place every single part of knowledge that I come across and place it into context. Primarily relating to culture and text, this can be a matter of philosophy, socio- economics or purely aesthetic value, but my brain will tend to consume information best whilst relating through sociological methods. For example, spatial design (and design on the whole) is made for, by and with people in mind. I therefore have an “it’s all relative” type world-view on such topics. In my practice this is no different, as key aspects of a design project such as the vital task of site analysis (who uses it? why do they use it? etc.) have society at their core rather than a minority of the conceptual machinations in other disciplines of art and design.

My studies have led me thus far to focus on a particular part(s) of Bournemouth and its surrounding areas, namely the Chines. These vegetation- rich areas are in constant use and open to the public, so it would be foolish not to use critical thinking as part of my overall research. I had decided at the start of the year, that I would like to incorporate unfamiliar media as part of my research methods. Photography and Filmography had been areas that had besotted and fascinated me throughout my life, be it on the side of a bus or viewed in a independent cinema. I felt like the beginning of a new qualification sited the need for new research methods and so I in turn decided to have my first venture into these two new areas of textual analysis.

Film photography would be the first new research method I would attempt, predominantly trying to evoke the pure nature and natural beauty of the chines. Whilst shooting, I couldn’t help but notice while in these compelling series of spaces, not only who was using them but how and why. I saw that the photos I had collated afterward were mainly focused on the vegetation, as well as trying to get an empty pathway bereft of human activity (to realise another part of my project’s brief). Moving image was what I felt was the natural next step in this area of textual analysis as I wanted to accurately and simply convey the public’s use of the chines in a very literal way, so making a short video cycling down through these spaces would give a useful spread of who used it and how they were using it (for the most part). I felt this kind of research fell under the notion of critical vision, where these questions of social activity were a valuable afterthought rather than the main focus of the task. These accidental questions are often what I strive to produce in my practice, as it not only drives me to discover more but also gives me confidence that generally speaking, I am asking the right questions. If I were to critique this study (as I could not help but do whilst watching it from what I have revealed previously), I would objectively ask further questions about the legitimacy of the video as a successful research method for studying sociological context within the Chines. I could question for example, how valid the video was in proving evidence over the given time of day.

Site visits are a vital aspect of my discipline’s research methodologies. To get a sense of every characteristic of a site, (aside from textual information you may be able to find) is fundamental to any successful spatial design work. It also sets apart the discipline from other subject areas, although you could compare the critical thinking that takes place from a site visit to that of curating an exhibit or placing an artwork into one. There are many variables you have to go over whilst conducting a site visit, as critical thinking must be paramount when trying to gather data onsite. The comparison of passive processes in which data is gathered (collating information from various texts) and experiencing the site in reality is both fascinating and often pivotal to a project’s success. Your senses are what give you knowledge, through aspects like scale, tactility, lighting etc. that ultimately pertain to the raw impression of a space in your mind.

During site visits I have an unwritten (and some would say disadvantageous) strategy, where I try not to have a checklist/set of data that I must specifically document, as I would rather arrive at a space with as clear a mind as possible. My practise relies a lot on my own impulses and idiosyncrasies as more generally speaking, our personality is what makes our practice ours, and to work under those guidelines is the best system to rely upon. Whilst I may be in some ways ignoring some of the obvious questions that Spatial Design throws up, I am in constant use of critical thinking as I evaluate any given space.

I will also try to use the height of my sincere, objective and receptive qualities to try and answer the briefs queries. This use of instinctive methods has helped me a great deal in finding typologies for sites and often helped me answer doubts further down the line in a project. This is also where my journal has come into use this year, as I remember as much of my instinctual thoughts as possible to then refer back to in the future, if need be.

Printed journals can also be a key agent of invigorating my design processes and serve as valuable research. I find magazines like “Frame” of “Detail” useful mainly because of how up to date their material is. I am keen to learn and utilise the utmost modern techniques if and where possible in my practice. New technologies I believe should always be considered in a contemporary design project. Journals can provide you with not only well thought-out photography of relevant subject matter, but also illustrate and explain the complex engineering that takes place in such projects for example. I have always been inadequate in my understanding of architectural engineering, when it comes into my practise. However, these publications can help me greatly in understand such complexities. I will always aim to try and stay in touch with the contemporary design world through textual analysis, be it through lushly advertised bespoke product design or a case study into a new hybrid fabric. This mostly qualitative data helps me place my practise further into a professional context and look more objectively at my work in an entrepreneurial fashion. ‘How does my work compare to what the market patterns are?’ and ‘Where do current trends feed into my own practise?’ are the kinds of questions that would crop up instantaneously at only a pages glance.

Whilst trying to obtain historical accounts of the Chines and their development, I came across a type of text that I did not assume was likely to be as helpful as it was. “Flickr” is an image and video hosting website, usually a preserve for the keen photographers around the world with a huge breadth of different media available to explore.

As is the way with a successful creative endeavour, it was by accident that I stumbled upon a local historian’s Flickr account, with an archive bigger and more in depth than I could have imagined. Alwyn Ladell has accumulated over thirty eight thousand photos on his online account, some of these being photos, other being scans of historical interest.

Many scans of old books, postcards and newspaper articles as well as photos run through his account. The key use from this is that his photos are well organised with every ‘photo’ tagged and filed accordingly, which leaves any public user able to sift through his extensive collection reasonably easily. Flickr has long been of great use to me in many previous projects, as its files are often carefully handled and are often hard for me to match considering the tools at my disposal. I mainly use this data as an integral part of my site analysis, as well realised photographs can be key in evoking the kind of essence in a site you want to communicate. A prospective visitor to the site can sometimes obtain other key pieces of information (inadvertently) about a photo, from a personal caption explaining what time of year the photo was taken for example.

It was examining Mr. Ladell’s archives that I was able to unintentionally learn a small but important history of each of the separate chines. I found through his extensive digital ‘tagging’ system, at least thirty or more historical postcards scans and photos of each of the individual Chines. Not only was I unaware that any of these spaces existed, but I would have been hard pressed to find through another method (I had already searched through our university library’s system for example as well as relying on instinct). The key was that this information was not only in an online public domain and I could access it from any computer, but also that his collection carried a lack of copyright so all data was free to download at any rate. Whilst sifting through his many scanned postcards from different eras, I discovered that I could through critical thinking, establish a brief but decisive history of each space.

A critical piece of quantitative data that I would always look for first would be the date in which the date was documented as coming from.

These dated postcards would often include other vital data, such as including people of the era as well as land features that don’t exist anymore. This specific type of primary source was key to me in gleaning a basic understanding of the history of the chines, which is something I desired greatly. As well as offering basic information, textual analysis has inferred patterns in-between the photos, such as how certain trees grew and to what rate over the years. My instinct tells me that these kind of happy accidents are always key to the success of a successful project and I hope this will lead onto similar results.

Another website has and continues to represent my research methods and design processes well and that site is Tumblr. A “microblogging platform and social networking website”, I have used it for leisure and to help my design work for years. It still remains a key part of not only my research, but how I understand it. Similar to Flickr, it has a ‘feed’ of countless multimedia in a chronological order with a predominantly visual output. It often possesses useful links to its posts, with the original source of the post often linked (sometimes with a caption). On art and design based blogs, if these captions appear they usually will have a mixture of key information (i.e. who took the photo and when) and can potentially have another users’ personal view on each post. In the context of a design blog, this could be a poetic explanation for including it on their blog or where it was exhibited. I use this site daily and have amassed a deep knowledge for how to get around the site. The reason for its frequent use is for the wealth and breadth of material that the site holds. Similarly to Flickr, I’ve found information through Tumblr that to my knowledge thus far, is up and above that of other search engines. For example searching for ‘Henri Matisse’ would provide you with not only his most obvious work, but also other student’s work in homage and material that is hard to find. As I have amassed a good understanding for navigating through the website, I’ve always used the concept of critical thinking to underpin my use of it as research.

As my practice has developed over this year, I have cited Tumblr as a key method of my research. Its online content has helped me understand my film photography for example, and I have subsequently been able to place it into an outer context. As other designers (both professional and non) will nowadays often own and update a Tumblr, communication is also made possible which can be of great use.

My practice is often centred on a sincere, thoughtful and conceptual concept that will run through a project and give it an idiosyncrasy that makes it not only successful, but distinct. Success is something my practice lacks habitually, specifically in its resolution for the most part.

However, my concept is always bolstered by the underlying influence of Tumblr and its contents. As its popularity is based on its incorporation of contemporary culture, it neatly supplements other research methods I undertake such as journals and Flickr. Throughout my BA (Honours) course and through to now I have been utilising key qualitative and quantitative data. I continue to use it as a more modern text.

A key problem with my research methods has always been their bulk in comparison to the design processes over the course of a design project. This years’ practice has seen a change in these habits thus far, as the notion of practice over theory has often taken place overall. I hope that my future projects do not suffer this kind of disparity between internal and literal processes, as my creative spirit can deplete my work. Placing my practice into a context is something that I consider greatly, however it usually secondary to the task at hand. This thought process has and continues to underpin my design-based thought processes. Furthermore, the key decisions that I make are and will be (by instinct) centered on my natural predisposition for critical thinking, and rationalising the creative sphere that relate to my practice.

Bibliography 1. -.(-).WhatisaPrimarySource?.Available: http://www.princeton. edu/~refdesk/primary2.html. Last accessed 14th Jan 2014.

2. Yahoo.com.(2006).MiddleChine,WestCliff,Bournemouth,Dorset. Available: http://www.flickr.com/photos/alwyn_ladell/sets/72157625674108927/ with/8 596852439/. Last accessed 14th Jan 2014.

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section 9 reflection on development of practice

I have come across varied issues and discourses that have affected my work in various negative ways. Luck has not been on my side all year, with various events contributing to my current academic situation. A predominant moment that sticks in the memory was the theft of my laptop around the middle of the spring term. I was in a fortunate position in terms of backing up work, and I had recently been making a lot of 3D work (for the then current Strategies For Practice 2 unit) also. However, not only was the rhythm that I was working hard to keep broken but it pushed me back around 2 weeks of valuable time and left another set of problems in its wake.

Another significant event to push time back was the breaking of the schahpoid bone in my right (and writing) hand in the middle of the summer term. The pain and subsequent cast that covered my hand lower arm left me unable to write, draw or do any 3D work competently as well as decreasing my typing ability for around 8 weeks. If I had not made better progress with the injury, I might have been looking at an intermission of the course which would have not been a good scenario for myself. I was still able to read and research into important areas of my practice, but not only was my ability to do nearly everything depleted as my confidence was too.

Many of the significant issues that influenced my work have come form the surrounding financial pressures that further independence and a lack of student loans has had. In real terms, this has sometimes been a question of funds for materials if not funds for my outside domestic life. These anxieties have undercut some of my progress throughout the year but have not made a direct impact in places.

On the positive side, the multiple seminars and lectures we have been involved in have been more than inspirational to my work. For example, a talk on the topic of Kaizen and the Western World’s fascination with Japan was the perfect example of a topic that does not fall directly into my jurisdiction, but nonetheless infiltrated my mindset and made me ponder wider philosophical/socio-political topics that do affect my work. Smaller seminars such as a DVD on the Boyle Family also really gave me a new mindset on appreciation of the world’s landscape for example, which directly impacted my theory in my projects.

Group critiques and presentations have also illuminated my mind massively, with discussions with the other disciplines and tutors alike throughout the year, giving my work’s thought processes more cultural context and richness. That has been the main drive for my own practice, to maximise on an eclecticism that has surrounded myself throughout the year. I feel the different subject areas and processes that I have done throughout this year has brought about a real progression in my critical framework. I feel like my adjustment to independence and the bad luck that has plagued me in places has almost driven me off of the course, but has not stopped my positive mental drive to intake each of the fantastic idiosyncrasies that the course members have.

Through this Masters course, I have learnt new skills and have come to learn more of fine art approach to design and spatial awareness. I have also learnt the value and importance of self motivation and self awareness when it comes to completing work. If I was to be self employed in the future, I would like to consider this year as a tester in abilities to back myself.

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