Thomas Saunders Feasibility Report by Thomas Saunders Design

Contents | Section 1:

Introduction Section 2:

Research

Section 3:

Site Analysis Section 4:

Conclusion Section 5:

Bibliography

P01 P02

Preface Project Aims & Objectives

P05 P06 P07 P09 P10 P11 P12 P13 P14 P15

Tattooing In Todayâ&#x20AC;&#x2122;s Society Traditional Tattoo Experience Tattooing And Social Media Visitor & Artist Experience Analysis Branding Study Facebook Application Outline Of Requirements Arts Council Grant - Analysis Arts Council - Studies Exhibition Logistics

P16 P17 P18 P19 P21 P23

Precedent Study 1 - Inflicting Ink Precedent Study 2 - Vagabond Tattoo Precedent Study 3 - Mutiny Tattoo Precedent Study 4 - Audi AreA1 Precedent Study 5 - Serpentine Pavilion Precedent Study - Conclusion

P25 P26 P27 P29 P31 P33

Site Map Survey Site Calendar Survey Shopping Centre Survey Exhibition Space Survey Exhibition Space - Tobacco Dock Plans Exterior Space Survey

P37 P38 P39 P41 P43 P44 P45 P47

Design Rational Design Outline Initial Sketch Ideas - Structure Initial Concept Models Design Influence - Mandala Design Influence - Script Font Concept Model Zone Requirements

P49 P54

Image & Illustration Reference Bibliography

P54

Appendices - Regulation Of Tattooing Businesses

Section 1: Introduction

| Preface

With social networking being so advanced with Facebook, Instagram and Twitter it is easy to discover artists and their works online. These artists can be discovered in a whole range of ways, this gives people the world of tattooing in their hands. However the world may not be easily accessible to most people. People follow artist from different cities, counties and even countries. Often the best tattooist become â&#x20AC;&#x2DC;internet famousâ&#x20AC;&#x2122; due to their work and have hundreds, even thousands of followers. The proposed scheme allows these followers from around the world to meet and even be tattooed close to home.

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Project aims & objectives |

Project Aims: The aim for this project is to create a versatile, adaptive structure that altars itâ&#x20AC;&#x2122;s arrangement depending on its location. These locations will include: exhibition halls, shopping centres and interior and exterior showcase spaces; each with their own spatial language. The structure will host two tattoo artists at a time to spend anywhere from one to four days in the selected location, operating a temporary tattoo studio housed within the structure. These artists will be elected by the general public and fans using a social networking application such as Facebook.

This project aims to benefit the artist by giving the opportunity to work around the UK showcasing their work, tattooing and meeting new clients and other artists. It also benefits tattoo enthusiast bringing their social networking artists and new talent to their city or town. The general public will also benefit from this project as it will give an insight into tattooing with artists and staff being able to talk with people to discuss the process and answer questions as well as letting them view the tattooing in action. This project aims to demonstrate the positive personal and artistic form of expression that tattooing has evolved into, in todayâ&#x20AC;&#x2122;s society.

Project Objectives: Create a structure of: Parties that will thrive and be inspired by this concept. Artists that want to inspire, teach and enlighten others. People that are curious, connect into a platform that engages where they have the power to choose. An intuitive design with appropriate materials that works spaces in the best possible way. Aims Of Report This report aims to outline the proposed project to design a versatile and adaptive traveling tattoo parlour. The report will include how this scheme will operate and work, Analysis of the site locations, Analysis of branding of the design and Funding method.

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Section 2: Research

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| Tattooing In Todayâ&#x20AC;&#x2122;s Society

Figure 1

Figure 2

Figure 3

About Tattooing: One fifth of British adults are now 'inked', according to a survey. Even In the past decade tattoos have had a significant rise in popularity having been round thousands of years. One in five people in the UK now have a tattoo with 21% of people ages the prime minister's wife has one. 18-29 years of age with even higher statistics in America.. 22% of British females have tattoos Just why has the artform of sailors, compared to me with only 15% tattooed. (PR NEWSWIRE 2013) bikers and assorted deviants become Tattooing has reformed from the previous military, sailors and gang people acquiring them to mainstream? The Guardian

a form of personal art that allows for self expression. The stigmas have changed and people are becoming more open to this form of art this is because of a whole range of influences such as celebrities, athletes, bands and singers as well as fashion and media.

Figure 4 - David Beckham / Footballer and British Icon Figure 5 - Rihanna / Singer Figure 6 - Miles Langford / Fashion model

Figure 4

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Figure 5

Figure 6

Traditional Tattooing Experience |

Customer Interest:

The decision is made that the customer would like a tattoo. There are several ways that they can find and approach a tattoo artist.

Contact:

The next stage is to contact the artist or shop. This can also be done numerous ways.

Tattoo Day:

Finding a tattoo shop on the high street: This can be seen as daunting to a lot of people and is somewhat not reassuring especially if you havenâ&#x20AC;&#x2122;t been their before or seen their work in person. Work displayed in their portfolios is hard to judge if it is theirs. It is well recommended to thoroughly research a tattoo shops and the artists before getting any work done. This can easily be done through social media. Research online tattoo shops in your area: Simply googling Tattoo shops and you location will display tattoo shops in the area, from there, the customer can further their research by searching the specific shop name. There they will can be linked to the shops website, social media links and anything else linked to them.

In Person: This could be ether going into the shop and talking about designs or telephoning and possibly being referred into the shop with reference material. The customer will then be booked in for an appointment and will often take a deposit (normally an hours charge ÂŁ40-ÂŁ80) Online: This can be through a social networking site like Facebook, Instagram and Twitter however different shops have different process and some like you to come into the shop and talk to them. Emailing may also be preferred with images attached if required. Once again, the booking time and date will be confirmed of require the deposit to be bough in within a time period.

On the day of the tattoo the customer is asked to arrive approximately 10 minutes before the scheduled time to show identification and sign a disclaimer. The ideas will then be looked over again and drawn up by the tattoo artist. Once confirmed by the artist will prepare his work space wiping down surfaces and then wrapping the chair in plastic. The tattooed area will be shaven and sterilised ready for the stencil to be placed into position. The position is then checked with the customer to give 100% satisfaction and any amendments will be made. Once the stencil is in place the artist will insert the needles into the gun (this is done as one of the last stages to prevent contamination). The ink will then be poured into small containers, also to prevent contamination. The artist will then ask if the customer is ready and begin the process. A good meal is recommended beforehand to prevent the customer passing out. Sweets and energy drinks are also recommended to keep blood sugar levels high.

After Care:

Once the tattooing has finished the artist then wraps the tattoo in plastic wrap to contain the bleeding and stop contamination and infection. Different artists have different methods of how to care for the tattoo but will give verbal or a print out of instructions. Processed including lightly washing with water (no soap) and air drying, re-wrapping and repeating this process several times a day for the fist 24-48 hours are pretty common practice after that non perfumed moisturiser should be used to keep that tattoo from becoming dry.

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| Tattooing And Social Media How do artists use Facebook:

Facebook has an estimated 800,000,000 monthly users (EBIZ MBA 2013) making it the most used form social networking site being used by 1 in 13 people in the world (BUZZ FEED VIDEO 2013). Facebook has a whole range of features and application making it a perfect platform for sharing. Tattoo artists can use the features incorporated to create tattoo shop pages online supplying relevant contact information as well a portfolios of their work. These pages can then be ‘liked’ and ‘followed’ to keep track on their activity. The content posted can be ‘liked’ and ‘shared’ linking it to the users profile. This activity can then be seen by friends and the public, giving them the opportunity to view the profile. These features and process’ allow the user endless supplies of tattoo shops allowing them to explore a huge variety. 208,300 photos are uploaded a minute onto Facebook, tattoo artists often post pictures of the work they have done on their own personal profile. This content can be viewed, liked and shared by friends and depending on the privacy settings the public. Users can see this work and add the artist to talk about an appointment or to keep track on their work. With such a wide audience Facebook has allowed artists and their work to be easily discovered and bridged the contact link between them and clients. The Facebook search option allows for profiles from around the world to be viewed resulting in users friending people from around the world.

Tattoo Page Example:

This is an example of a typical tattoo studio Facebook page. They have made the most of the cover photo including the shop name (Lost Time), what they do (Tattoo, Piercing, tattoo removal) Telephone number (01733 340776) and opening times (Tuesday Saturday). The about section shows the full address and more information about contact. The page has 4,328 likes, with the most popular of likes coming from Peterborough, however there are likes from other artists, friends and fans in different cites and even countries. Lost Time have also linked their online shop to their Facebook to make sales of merchandise.

Figure 2

Figure 1

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On the left of the page the first tab is Post, where the user can write on the shops wall. Posts are filed on the bottom right hand side of the page under Recent Posts By Others. Below the post section is the most recent post from Lost Time; a photo album of ‘Piercings by Alex Balding’. other examples of posts can be of special offers and other information. On the right hand side shows how many friends have liked the page (64) as well as giving the option to invite friends to like the page. Figure 2 shows an example of the albums uploaded to the page.

Twitter:

Instagram:

Tumblr:

Figure 1

Figure 2

Figure 3

Twitter has an estimated 250,000,000 monthly users (EBIZ MBA 2013) and generates 278,000 tweets a minute (BUZZ FEED VIDEO 2013). This platform allows for information to be posted using 140 charters or less. Tattoo artist can use this to contact one another, post about promotions or special events. Artists can also use this to promoted free spaces with in the shop. The proposed scheme can take advantage this tool as it can be used to promote the artists space on the exhibition. Twitter also has the feature to attach a photo this could be of a piece of work or of the exhibition.

Instagram has an estimated 50,000,000 monthly users (EBIZ MBA 2013) and 27,800 photos uploaded a minute (BUZZ FEED VIDEO 2013). Instagram focuses on pictures that can be taken using the application on both android and IOS devices. Uploads are stored on the users online profile and form a collection. Artists use the plat form to show off their work that has been done and flash that they would like to do. This can also be used to advertise the proposed scheme with uploads of the route and pictures of the voting or guest spots.

Tumblr has an estimated 17,000,000 monthly users (EBIZ MBA 2013) and is a blogging website. Tattoos are a very popular genre to be shared across this platform and can be linked back to source as well as viewed by anybody. Artist can submit their work to this site to show off their work that has been done and flash that they would like to do like Instagram however its more open and is less personal.

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| Visitor & Artist Experience Aims This table shows the visitor and artist experiences and how they are linked. Feeling Welcomed

The visitor experience for the proposed

Informed

into the exhibition and that they can be part of the experience.

Information provided is useful and inspiring.

Visitor Experience

Privileged

scheme is very important as it not only interacts with the tattoo community, it connects them with people who may not be as involved. The site will need to engage the public and give them something to stop and look at. This could be done with the tattooing being in full view ether behind a glass window if located outside or in the open when located inside. The scare and intimidation of tattooing will need to be considered, this could be overcome using visual displays to take the mind off the pain of the needle during tattooing and making the exhibition approachable.

Sense of Community

To have a tattoo by someone they have liked but traveling distance was an issue.

With artist and other visitors.

Positive & Creative Environment

Tattoo Artist Experience

The artist experience for the proposed

scheme is also equally important as it has to be seen as an incentive for artist that are really wanting to work with, and are enthusiastic about the scheme.

Worthwhile

Meeting other artists and fans of their work.

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Social Creating new clients and sharing their work.

Branding Study | What Is It?

The scheme will need to have either a description to say what it is and what it does, for people to get what it is the scheme is doing. This can be in a catch strap line like the ones on the right - however because the scheme is slightly complex it may be difficult to portray in a sentence, therefore it could have a simple paragraph stating how it works.

How does it work?

Figure 1

Along with â&#x20AC;&#x2DC;what is itâ&#x20AC;&#x2122; information, it may also need additional information such as a diagram of routes, a link or display of the app and how the over all scheme works. This could also be animated if digital screens are specified. This will give the stakeholders a better understanding.

Figure 2

Figure 3 Strong Visual Identity:

The scheme needs a strong visual identity so it can be instantly recognised as well as giving a lasting effect on the user. The choice of fonts, colours, and layout can achieve this. It should also reflect the cleanliness that tattooing requires without being to clinical along with the heritage related. Title

What is it?

Signage: How does it work? Or additional info

Figure 4

Signage for the scheme will have to include the title, what it is as well as how it work along with having the strong visual identity.

Figure 5

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| Facebook Application Initial Stage:

Search - www.Facebook.com/ATT Once loaded, the user will be presented with an interactive map of the UK. The map will show the routes of events (Example in Site Calendar Survey). The user will be able to run the cursor over the route that will highlight even points, as shown in FIGURE 1 where Peterborough 10/01/14 highlighted. If Peterborough is then clicked the user, it will be presented with one of two screens (FIGURE 2 & 3). This application can be viewed without signing into a Facebook account.

Figure 1 Vote Stage:

The vote stage shows where the two artist positions have not been assigned to an artist. At the top of the page it states the location and date (Peterborough 10/01/14 - 14/01/14). It also have a countdown timer in which the voting will close, for example 10 days, 4 hours , 10 minutes, 45 seconds. Below that are information cards for the artists. These will include all relevant information, such as profile picture, name, current/home location, social networking links and examples of work. The information cards are arranged by votes; highest first. For example the top artist has 200 votes, the next artist has 99 votes. Each Facebook user is allowed one vote to nominate an artist to come to the selected location, to the right of the vote counter there will be a selection box to place a vote. Once the timer has ran out the top artist with the most votes will be contacted to accept or defer the opportunity. If deferred the next artist with the most votes will be selected.

Figure 2 Selected stage:

Once the voting stages have closed for the selection process the user will be presented with this screen (FIGURE 4). This displays the selected artist and number votes received. The contact card of the artist will bigger displaying more information about the artist as well as booking information.

Figure 3 Artist Contact Card: Artists have an option on the initial stage website link to create a contact card (syncing information from the Facebook profile). The artist will need to attach proof of qualification and other health and safety documents at this stage. They can then choose locations from around the country where they would like to go and tattoo. Once submitted the artist will receive a voting link for each location that can be posted on their social networking platforms linking fans to the voting stage. The contact card will have icons linking to Instagram, Facebook, twitter and the shop the artist works for.

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Figure 4

Figure 5

Outline Of Requirements | Communal Equipment:

Computer - for referencing material and research. Scanner / Printer - to print off reference material & stencils. Internet connection - to search the internet for ideas and referencing material. Light Box - to trace images.

Workspace Furniture:

Figure 1

Massage table - For the client to sit or lay. Artist stool - for the artist to sit whilst working. Desk / surface area - for drawing and as a workspace when tattooing. Tool box / storage area - for empty toolboxes one the artist as set up his station. Additional light source - can be used when light levels are low. Fan or Heater - To cool or heat the room. Sharps - dispose of used needles safely Recycling waste - recycling paper, plastic and alloy. General waste - food and other non recyclable waste.

Special order supplies:

Tattoo Machine - connected to power source. Needles and Tubes - fix into the tattoo machine. Single use and disposable . Rubber Nipples - packs of 100 - used in the tattoo machine. Inks - used with the tattoo machine to dye the skin. Ink Caps - Holds small portions of the ink to prevent contamination to the bottle. Transfer paper - For transferring designs onto the skin.

Retail supplies:

Figure 2

Latex gloves - powder free gloves used for hygiene when tattooing. To be regularly changed. Vaseline - to be applies to the tattoo to retain blood and to help the needles glide. Spray bottle - to wipe down tattoo and to clean surfaces. Plastic wrap - to wrap the worktops, the bed or rests to keep sterile and prevent damage. Also used to wrap the finished tattoo. Scissors - for cutting stencils and other general uses. Scotch tape - used for securing the plastic wrap when covering a finished tattoo. Rubbing alcohol - to clean the skin where the tattoo will be placed. Bleach - cleaning areas Paper towels - to wipe away ink residue and for cleaning. Disposable Razor - to shave Hair from the desired tattooing area.

Legal requirements and Licensing:

Please see Appendices A for legislation, department of health guidance, training and consumer law regarding tattooing.

Figure 3 Environment:

Lighting – The tattooing areas will have to have a source of (preferably) natural light or artificial light. This will maximize the artist’s visibility when working. Cleanliness – The tattooing areas will need to be finished with easy to materials to create a sterile environment. Space – is important to maximize movability for the artist as well as creating a comfortable environment.

Audio/visual:

Visual displays – advertising route on a large map with upcoming dates, images of setup in previous cities, work and artist features, how it works.

Staffing:

Artists – Two selected fully qualified tattoo artists Promotion / house staffing – in charge of getting people involved, making bookings, money handling, admin responsibilities. Install – erecting structures & displays, basic maintenance, health and safety responsibilities.

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| Arts Council Grant - Analysis

Figure 1 Arts Council About Grants for the arts:

Figure 2 Ref 1

Our Lottery-funded Grants for the arts are for individuals, arts organisations and other people who use the arts in their work. They are for activities carried out over a set period and which: • Engage people in England in arts activities • Help artists and arts organisations in England carry out their work

Analysis

Summary

The scheme engages people in the art of tattooing around the county as it exhibits the art to people whom may not be familiar with the processes or other aspects. It also helps artists by showcasing their work in different areas of the country allowing it to be shared and appreciated by a bigger audience.

In the about grants for the arts section on the arts council website they state that they can award grants to schemes that engage people in arts activities and to help artist carry out their work, my scheme does all of this making it eligible for a grant.

The scheme is going to be big, therefore the project is going to need over £100,000 that will cover the costs of making the exhibition, travel costs, pitching costs etc. It will last one year and will run again in the second year based on the success. With here being no deadlines for the application it can be submitted once the project is complete.

Money provided from the grant will be sufficient funding for this project.

The arts council will fund the project, events, marketing activities, equipment, vehicles, training, residencies and touring.

The project has a good number of elements that can be funded giving it a good opportunity for funding to be accepted.

(Arts Council 2013)

How much can I apply for?

Through Grants for the arts we are able to make grants of between £1,000 and £100,000 for activities lasting up to three years. In special circumstances we can award larger grants for more major projects. If you plan to apply for over £100,000 you must contact us to request permission to apply. Grants for the arts is a continuous programme, so you can apply at any time. There are no deadlines but you need to allow enough time between when you apply and when your activity starts. (Arts Council 2013)

What can I apply for?

We fund a range of artistic activities, including: • Projects, events, commissions and productions • Research and development, audience development and marketing activities • Buying assets such as equipment, instruments and vehicles • Professional development and training • Bursaries and fellowships • Organisational development to improve the long-term stability of arts organisations • Residencies • Touring (Arts Council 2013)

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Arts Council - Studies | The NewBridge Project: providing affordable space for artists Date: 2 November 2011 Artform: Visual arts Area: North

Figure 1 The scheme The NewBridge Project is an artist led project and is now a cultural asset for the North East. The Project offers studio space that is used by over 60 contemporary visual artist. Based in Newcastle it has allowed the city to be seen as a place to live, work and develop for artists.

Proposed scheme Like the studio space in this project the proposed scheme offers a similar space however rather then a specific location this is traveling allowing to bring the progressive qualities identified to a rang of geographical locations.

South East development programmes are nurturing young and emerging artists Date: 7 December 2012 Artform: Dance, Theatre, Visual arts Area: South East

Figure 2 The scheme The arts council support schemes that reflect their core goals of insuring young people are provided the opportunities that the arts have to offer. These programs offer mentoring sessions and contact with professionals to demonstrate a working environment. This scheme gives young people the resources and confidence to further their artistic career.

Proposed scheme Like this program the proposed scheme provides the opportunities for tattoo artists as it allows for mixing with the tattoo community as well as the opportunity to showcase their work around the country. The scheme is just as effective for the newly qualified artist as well as some of the oldest.

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| Exhibition Logistics

Figure 1 Delivery to site and storage:

During the design stages there are a number of delivery and storage solutions to be considered. For example what vehicle will be used to transport the exhibition or is the exhibition part of the vehicle? This all depends on the design of the exhibition and its size weather it requires a lorry, van, trailer etc. Once decided on the mode of transport the next stage is to work out how the exhibition and furniture will fit onto the vehicle. Will it be transferred as whole unit or will parts or all need to be dismantled and flat-packed? Another example would be how will the exhibition be moved from the vehicle to space? Depending of the size of components this may be on wheels or in boxes for example.

Figure 2 Installation and repacking:

The installation and repacking process is important in my scheme as the exhibition will only be used on site for two to four days at a time and the type of sites are in public spaces that can not be closed off, therefore working times are limited to out of hours. It is important to consider: how long will it take to erect and assemble and to disassemble the exhibition? What resources will be needed for installation? Such as tool kits or specialist tools, will cranes, lifts or winches be needed for parts or loading? As well as tools required it is also important to consider how many people will be needed for this process? Will this take a team of two or a variety of specialist? There is also the element of what damage risks are there from this process? This can be due to the materials or human error and need to be prevented.

Usage and wear:

With this space being in public and in line with the Disability Act it is important to make this exhibition inclusive for all stakeholders.

Transit example Survey

Transport:

Marvin 6m Exhibition Trailer Size: 6m x 2.3m trailer body Entrance: 3 metre wide

Figure 2 About:

Figure 1 Features:

•6m x 2.3m trailer body •3 metre wide front entrance •Solid lift-up front awning entrance cover

•Low height flat floor

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•non-slip floor covering •Rear personnel door •Translucent ceiling tiles •Optional 4m/sq display panels

The Marvin 6m Exhibition Trailer is an open plan event trailer with good natural light coming from translucent ceiling tiles as well as the three metre wide entrance. It has a steel welded framed chassis with aluminium framed walls with hollow core triangulated recycled panels. The trailer uses heavy duty levelling jacks. Aspects of this can be considered during the design stages as it may be used to transport components and act as a tattooing area for the exterior events.

Precedent Study 1 - Inflicting Ink |

Figure 1 About:

The Inflicting Ink Traveling Tattoo studio is a 78-foot 12 wheeled state of the art tattoo studio in based in America. The studio is to hire by artists and travels from state to state. The proposed scheme is similar concept with the traveling however it will not be hired. The proposed scheme will not require the artist to rent out the space making it feasible for a bigger verity of artists. The vehicle is self-contained up to fourteen days and runs on its own power. This is one of the highlights of this project and these systems will be needed as part of the proposed scheme because shown in the location surveys not all services are provided such as water supply and wastage.

Figure 2 The exterior of this studio is impressive, big, bold and makes a statement. It also represents the styles of work the artist produce, this is an important factor when designing as to how the proposed design will fluctuate to represent the different design styles that each artist has using the space. The user experience is limited because essentially it is just a basic studio with relevant necessaries. The proposed scheme wants the artists and users to engage: this could be done with a personalised space created using visual panels that can display pictures, portfolios and videos. These panels can show work and emphasize the clients experience.

Figure 3 Mobile Studio:

Figure 4

The idea of one large traveling unit is appealing however the intended locations are limited with access and space like the shopping centre location for example. This unit could have segments inside that can be bought out for example the tattooing space may potentially be one segment that can be moved away from the main structure to be bought into a shopping centre. Or could stay inside the main structure when exhibited in an outdoor environment, solving weatherproofing challenges.

Figure 5

The studio is fitted with three working stations each equipped with the highest standard of safety precautions. Figure 3-5 are images from the spaces, they have the design vernacular of a tradition American style with the light wooden cladding and rich mahogany units. This space does feel dated and the layout has been designed to a basic standard.

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| Precedent Study 2 - Vagabond Tattoo

Figure 1

Figure 3

Figure 2

Vagabond - 471 Hackney Road, London, E2 9ED

The Vagabond is a modern day tattoo studio with clear art gallery influences. The exterior view (figure 1) is inviting, with huge glass windows and door panels creating a good sense of space and light. The minimal black fascia gives a good contrast with the white walls and warming stained floor inside as well as having a mysterious feel on the outside. A small vinyl sticker with the name and shop details is stuck mounted to the door, other then this no other form of signs are used keeping in the minimal theme and bring the attention to the inside. Figure 2 shows an interior view of the reception desk area where the admin side of the business takes place. The desk has been designed in keeping with the theme of the building mimicking the white walls and wooden floor. This is effective because doesnâ&#x20AC;&#x2122;t act as a divide keeping the flow of the space. Stand alone furniture such as draws and shelving havenâ&#x20AC;&#x2122;t been used around the room in keeping with the bright open feel. Supplies are kept in unique storage boxes creating diversity between work areas. This is also the case with the choice of work benches, rather then a big wooden table a small stainless steel frame holds a single sheet of toughened glass that blends into the surroundings when not in use.

Summary:

The design of this tattoo studio is very effective aspects of this design such as the use of space and light. as well as the use of space and how equipment is stored will be considered at the design stage of this project.

Figure 4

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Figure 5

Figure 6

Precedent Study 3 - Mutiny Tattoo | Mutiny Tattoo - Manor Lane, Borstal, Rochester, ME1 3HS

The Mutiny Tattoo studio situated in Rochester is one of the more traditional older versions of a tattoo shop. The building looks dated with very little if not any natural light, making the space very dingy and looks to have been selected due to prices. The Studio is not welcoming nor is it reassuring regarding cleanliness expected in a tattoo studio, this is due to the over crowding of furniture, mix of floor coverings and other choice of finishes that are mixed matched and old. Tattoo studios reflect the work of the artists and this studio does not give a good impression. Figure 5 is a print screen from Mutiny Tattoo website, the theme relates to tattooing in the 1990s as it looks rebellious with a solid black background and blood red accents. The layout and graphic nature also reflects that of the 1990s with basic fonts, layout and creativity.

Summary: Figure 1

This space demonstrates the importance of the looks of a tattoo studio and the effect of having no artificial light. Most aspects of this design will need to be avoided when designing.

Figure 2

Figure 3

Figure 4

Figure 5

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| Precedent Study 4 -

Audi AreA1

Figure 1 About:

The Audi AreA1 is a mobile-Modular brand experience designed by Schmidhuber + partner. This space combines both a branding space and an interactive driving experience that showcase Audiâ&#x20AC;&#x2122;s new A1 car targeting young, urban crowds.

The Space:

The space is divided into zones consisting of: Showroom modules - flooded with light complimenting the car from every angle. Exhibitions Areas - engaging displays of product information and features. Market place - seating are with bar and WLAN. (Figure 3) Driving experience - where visitors join Audi instructors on a high-velocity test drive.

Figure 2 Design:

The AreA1 roadshow has been designed to work in four configurations ranging from a small 165 square metre site up to an extra large 1,000 square metre configuration giving it maximum diversity of locations. It also features an ten metre wide by 8 metres tall Audi A1 Landmark/Sign that illuminates. Hight-quality materials have been used along with good workmanship that allow the space coincide with the Audi corporate statement. Edges, joints and seams have been specially designed to be hidden and suitable for outdoor use. Custom visual displays, audio sound systems and lighting rigs have been incorporated into the design creating a high level user experience in both the day and at night. Furniture within the space has been custom made using hard-foam covered with rubber to form a surface with a unique feel.

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The configuration element of this design can be used for the proposed concept as it will allow for the variation in environments. The zoning can also be replicated with: Tattoo areas that will have a good volume of light and easy viewing. Exhibition areas - for work and information. Market place - for refreshments and merchandise specific to each artist. The concept will also have the same highquality finishes and workmanship as aspect from a modern exhibition whilst at the same time providing clean sterile environment.

Figure 1

Figure 2

Figure 3

Figure 4

Figure 5

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| Precedent Study 5 - Serpentine Pavilion

Figure 1

Figure 2

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Figure 3

Figure 4

'It is a really fundamental question how architecture is different from nature, or how architecture could be part of nature, or how they could be merged... what are the boundaries between nature and artificial things' - Sou Fujimoto (2013)

Figure 1 About:

Japanese architect Sou Fujimoto designed this pavilion to be exhibited in the Serpentine Gallery 2013. The pavilion covers 350 square meters and was constructed using 20mm steel finished in white powder-coat and is used as a multifunctional social space with a cafĂŠ area in the centre. The arrangement of steel has allowed the structure to be lightweight and semi translucent allowing it to blend into the surroundings. The translucency element from this design can be taken into consideration for the proposed design as the tattooing inside can be viewed from all around. Various steps and platforms fluctuating in height on both the outside and inside invite people over to take a climb. The height variation could be used as part of the proposed plan to create levels containing the verified zones. The steps made from translucent reinforced glass are mounted into the square grid to form a platform. This method can be used to produce a wall and roof structure when situated outside to protect from the elements. However this had been designed with a roof covering consisting of large perspective circles that overlap however they let water in where as for the proposed scheme it is necessary to include protection from the elements.

Figure 2 & 3

Shows how this pavilion could be split into four sections. These could be used individually or with each other depending on the heigh and floor space. For example section 1 and 2 could be used for a small venue with lower ceilings and limited floor space. Whereas 2, 3 and 4 could be combined to form a tall and moderately wide structure or all sections to suit a large space. Section 2 had been rendered grey to show how panels would be mounted between the steel to form walls and roofing to form a protective barrier against the elements.

Figure 2

Figure 3

S2 | 22

| Precedent study - Conclusion Size limits locations Artists have to pay to rent Self contained for 14 days Good exterior design Basic user experience Old Fashioned interior

Contemporary style Good use of space Good used of light

Vagabond Tattoo

Inflicting Ink

Precedent Studies

Serpentine Pavilion

Clever Construction Semi Translucency Height Variation

S2 | 23

Mutiny Tattoo

Old and Tired No natural light Unwelcoming

Audi AreA1

Good Modular Design Good zoning Good Branding High quality finishes and workmanship

GOOD BAD

Section 3: Site Analysis

S3 | 24

| Site Map Survey About:

With the scheme being a traveling space there is not one specific location, as a result 3 likely locations have been chosen where the proposed design could be placed. The scheme would fit into the three surveyed locations chosen, showing the diversity of locations as they each include a variety of different environments. This will give a sense of the potential adaptations that this structure will be capable of. These locations have a variety of bonuses as well as limitations that will affect the design process and in-turn the final configuration on each site.

The Tower Birmingham (F)

Figure 1 Hilton Brighton Metropole Hotel (A)

Figure 3 The Millennium Stadium (U)

Figure 4 Tobacco Dock (S)

Figure 5

S3 | 25

Figure 6

York Racecourse (N)

Figure 2

Site Calendar Survey | About:

Mapped out are the locations of relevant trade/convention shows from 2012 to show the potential number of suitable sites and to show the variation of location between dates. Shows may have dates that need to be confirmed or shows may cancel, the scheme will have a system developed to sort this. These events accrue roughly once or twice a month and range from 1 for 4 days running times and are hosted in exhibition halls and football grounds.

2012 Events:

The spare weekends will be set for the exhibition to visit pitches in city and town centres. These sites may consist of indoor shopping centres / superstores, exhibition spaces, unused / vacant retail units. As well as out-door town or city high streets, exhibition areas or semi sheltered spaces.

9th / 10th June 23rd / 24th June

28th / 29th January Brighton Tattoo Convention // Brighton 19th February

Northwick Charity Tattoo & Art Expo // Northwick

3rd / 4th March 17th / 18th March 25th March

Tattoo Tea Party // Manchester Essex Tattoo Expo // Essex 10th Peterlee Tattoo Arts Festival // County Durham

1st April 14th / 15th April 21st / 22nd April

Ink & Iron Tattoo Show // Birmingham North Lakes Tattoo Convention // Cumbria Great British Tattoo Show // London

5th / 6th May 12th / 13th May 19th / 20th May 26th / 27th May

Liverpool Tattoo Convention // Liverpool Plymouth Tattoo Convention // Plymouth Northampton Tattoo Convention // Northampton Bournemouth Tattoo Convention // Bournemouth

MK Tattoo Convention // Milton Keynes Ink For Hero’s // York

29th June / 2nd July Ink Fest Woo Lacombe Bay // Devon 7th / 8th July Bolton Tattoo Convention // Bolton 29th / 29th July Portsmouth Tattoo Convention // Portsmouth 12th August Somerset Tat2 Convention // Somerset 18th / 19th August Norwich Body Art Festival // Norwich 28th / 30th September London Tattoo Convention // London 12th / 14th October Tattoo Jam // Doncaster 27th/ 28th October Halloween Tattoo Bash // Cardiff 16th / 18th November East-Coast Tattoo Convention // Essex 16th December

Jurassic Coast Tattoo Convention // Poole

March 2012 Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

Tattoo Tea Party // Manchester

Trafford Centre // Manchester

March 2012 analysis: Trafford…nchester

Essex Tattoo Expo // Essex

Cornmill Shopping Centre // County Durham

Birmingham BullRing…Center // Brimingham

Blue: Conventions Green: Other

10th Pet…Durham

Ink & Iro…ingham

Figure 1 Page 1/1

As you can see from the events added there are 3 convention dates set in March, the weekends in between have been appointed pitches close to the conventions. For example on the 3rd it will attend the Tattoo Tea Party in Manchester, a week later on the 9th it will be pitched in the Trafford shopping centre for four days. With 1 day events for example the 10th Peterlee Tattoo Arts festival in County Durham on the 25th there will be a pitch in the town/city the day before or after.

S3 | 26

| Shopping Centre Survey Shopping Centre location Example:

About

The Highcross Leicester is a steel and concrete structure and is divided across two levels. On the ground floor there is a 15 metre span between retail units and consists of single storey units. The first floor has an 8 metre mezzanine cut out with a 3.5 metre walkway ether side and has double storey units that are accessed from inside each unit. There is also another story height above those units, in effect creating a triple store building. This allows the potential structure to rise through the mezzanine on the first floor and tower up to the three stories if required. The space is flooded with light from huge oval windows mounted on the roof.

Highcross Shopping Centre Leicester. 5 Shires Lane, Leicester, LE1 4AN

Size: 105,300 SQ Metre Visitors: 18 Million Built: 1991 (extension 2008) Opening Times: 9.90/20.00 (Mon-Fri) 9.00/19.00 (Sat) 11.00/17.00 (sun).

56.4m

highcross

Combined with the white wall finishes making the space bright and airy. The floor is finished in light marble 300x600mm tiles, with a polished effect that reflects contrasting shop facials and light. Silver and stainless-steel have been chosen for accents and finishes such as hand rails and claddings. Other contrasting finishes include treated roof cladding and toughened glass hand rail panels. Artificial lights have been used to a minimal effect as with simple spot/down lights along with six strip lights on the ground floor. On the second floor spotlights are mounted two stories up projecting light across the floor and through voids. The cladding is up-lit with an array of spotlights. 56.7m

57.3m

58.8m 60.4m

Location Outline 58.8m

60.0m

Figure 1 59.4m

63.1m

59.1m 59.7m

tline

Ou entre

ng C

pi Shop

61.9m

62.8m

63.4m

Figure 2 Figure 3

ght/database right 2013. Ordnance Survey/EDINA supplied service. FOR EDUCATIONAL USE ONLY.

62.8m

Scale 1:2500 0

100

120

140

160

180

200 m

Oct 21, 2013 19:18 Abbas Parpia De Montfort University

64.3m 64.0m 64.0m

62.5m

Figure 4

S3 | 27

Access:

Access into the shopping centre can be via a pedestrianised road: Bath House Lane. That joins to Causeway Lane and Highcross street. Once on Bath House Lane there are large doors. The site is situated on the A594 that wraps its self around Leicester allowing for easy access around the city as well as being easy to reach from neighbouring areas, towns and cities. The A594 is like the central web on a huge spiders web that reaches out.

Doors

Figure 1

Figure 2

Figure 3

Services:

With this space being used as a walkway the services such as power & telecoms are mounted in the floor this allows them to be pulled up when needed and push back when not. When at the design stage it will have to consider how many outlets there will be and would more be required? There is no direct wastage or water feed service in this location meaning the design will have to incorporate ether a water system and a wastage system.

Figure 4 Merits:

• Source of natural light • Footfall & visitors • Access • Variety of stake holders

Demerits:

• Lack of water & waste services

Figure 5

S3 | 28

10.1m

7.8m

9.4m

| Exhibition Space Survey 7.8m

7.5m

7.3m

8.8m

8.2m

9.1m

9.7m

9.6m

Exhibition Space Location:

10.0m

5.9m

Tobacco Docks (London tattoo convention). 50 Potters Walk, Wapping, London, E1W 2SF 9.4m

4.8m

6.3m

5.2m

Size: 16,000m2 Capacity: 800 Cars, 3,000 guests Built: 19th century ‘Reborn’ in 2012 Original use: Tobacco storage Opening times: flexible 1 a.m. latest

Figure 1

About: Tobacco Docks is situated 10minute from There is 24 hour access to the site and is Tower Bridge a top London landmark. The licences to open until 1a.m. This is good for © Crown copyright/database right 2013. Ordnance Survey/EDINA supplied service. FOR EDUCATIONAL USE ONLY. loading and unloading the exhibition before building is a brick built Victorian warehouse or after hours. space with steel frames and features with Scale 1:2500 0 20 40 60 80 120 140 160 vaulted roofs throughout the space. There are To establish the parameters of 100 the exhibition 70 individual spaces ranging from basement stand it will be important to look at clearances with roof structure / trusses as this space is vaults and atria, that host conferences, meetings, exhibitions and others. Oak beams has a lower level roof (roughly 3m in height) compared to other exhibition spaces. When support the roof and huge rectangular windows mounted in the ceiling. Strip lighting planning the coverage of the exhibition it is fixtures are mounted to the beams in the also necessary to look at how the structure can spaces, however additional lighting will be be adapted to fit in or around neighbouring required. From research undertaken it is exhibitions / stalls or stands. evident that extra lighting is needed in the majority of exhibition spaces, especially if they are covered / enclosed.

Figure 2 3.0m

5.3m

3.7m 2013 19:21 Oct 21,

180

200 m 2.8m

Abbas Parpia De Montfort University

2.5m

Figure 3

Transport links: Wrapping over ground station is five minuets walk from the venue. Tower Hill underground station is situated within walking distance. This uses the district and circle line that can easily be reached from around London. Bus arrive from Kings Cross, Victoria and Waterloo stations.

Figure 5

Figure 4

Merits:

• Location • Age: Recent refurbishment • Transport links • Diversity • Off road parking

Demerits:

• Limitations with roofing structure, may compromise the design.

S3 | 29

2.8m

“Tobacco Dock is the historic city venue that offers highly flexible and multi functional space within a fabulous 19th Century warehouse complex.” TOBACCO DOCK,

(2012)

Access:

Tobacco Docks entrance onto the site is situated just off Penninton Street. From there are multiple entrances into the building all around the south and west sides. There are 2 loading bays marked with white circles where cargo for exhibitions can be bought in.

Figure 1 Services:

3-phase power provisions are provided at the Tobacco Dock also they offer fibre optic data with WIFI coverage or 80 wired ports. There are also extensive AV facilities making to possible for rigging, lighting, projecting as well as sound audio capabilities. The toilet facilities are stated to be luxury toilets.

Figure 2 London Tattoo Convention:

The London Tattoo Convention attracts 300 of the worlds finest and best tattoo artists from around the world. The two floors of the Tobacco dock are opened up to host the artists and to make room for trade. The artist are spread out over both floors and trade room have positioned in between. The numbers speak clearly: 20,000+ visitors for the 2011 and 2012 convention with increasing media interest making London the number one event in the world.

Figure 3

Figure 4

Health & safety:

The terms of use it states that the property must be conducted and compile with health and safety rules.

Figure 5

S3 | 30

| Exhibition Space - Tobacco Dock Plans Cross section through A Raised gate

2832

843

4650

843

1943

3400 2823

3917

2741

2750

N STRE NNINGTO

340 m2

(H) 3.907m To Vault

Door Height 2.47m Door Width1.75m

1512

D D

VOID

3850

1720

Gate Width 1.9m

1984

VOID

810 850

Gate Height Unrestricted

1910

Door Width1.65m

1917 FP

Door Height 2.47m

1910

1727

1910

1650

2301

1645

1660

1500

East Mall 1

1750

Door Width1.4m

Door Width1.65m

Door Height 2.47m

1648

5490

1750

Door Width1.65m

Door Height 2.47m

4949

Door Height 2.47m

1652

1090 1640

9080 B

1650

Toilets

Lift (1500kg max) 1.6m x 2m

Lift Liftmax) (400kg 0.9m x 1.6m

1650

1757

45 m2

N1 N2 N3 23 m2 15 m2

ELECTRICAL

1659

6827

7433

11967 3455

535

418

3917

Cross section through A

1690 1652

1543 1651

2635

1668

5000

(H) 3.877m To Vault

1642

1660

1659

1660

East289Mall 8 m2

BIN COMPOUND

1659

1650 1750

1647 1663 1752

1913

1930

1985

1909

1916

1988

1697

Door Height 2.47m

1594

881 1316

1391

1372

1343

1408

1639 1632

126 m2

1646 FP

1699

1603

3850

1002

1648 1647

Door Width1.65m

Door Height 2.47m

885

1652

1748

1649

1643 1640 Door Height 2.47m

946

733

930

Door Width1.65m

148 m2

1000 Door Height 2.41m

1590

218

1638

1687

1711

Door Width1.65m

Door Width 1.74m

903

870

900

Lift (1500kg max) 1.6m x 2m

2125 Door Height 2.47m

Door Height 2.47m

Door Width1.65m

Door Height 2.41m

Door Width 1.4m

FE 7159

Door Height 2.41m

1771

FE 17362

2327

2135

5878

39063

1953

18324

930

1737

1650

1747

1980

1315

2031

FE 7170

Door Width1.65m

1254

Quayside 6

1757

830

800 1600

Door Height 2.47m FP

1600

1738 870

Door Height 2.47m FP

1980

1960

960

1317

3680

1750

Door Height 2.47m

1750

2000

Door Width1.65m

1750

1988

1980 2000

Door Width1.65m FP

1960

990

1067

1648

7190

1962

Door Height 2.47m

1653

1650 1739

Door Height 2.47m

Door Width1.75m

Door Width1.65m

Door Height 2.47m

Quayside 7

Door Height 1.93m

1650 1954 Door Height 2.47m

Door Width1.75m

1369

126 m2

910 1750

1943

1000

1650

1649

2020

Door Width1.65m FP

1750

2000

2010

Door Width1.65m

1965

1000

2020

Door Height 2.47m

1317

1654

(H) 3.19m To Vault

2705

2725 FH FH

Steps to deck

Ship (H2.07m)

FH Steps to deck FH

Ship

12602

Quayside Loading Bay

Gate Height 3.3m Gate Width 1.9m

17052

Gate Height 4.1m Door Width 4.65m

Car Park 2

TOBACCO DOCK VENUE LTD Historic London's Newest Space 50 Porters Walk Wapping London E1W 2SF T: +44 (0) 207 680 4001 M: +44 798 000 9798 www.tobaccodocklondon.com Project:

TOBACCO DOCK

Subject: GROUND FLOOR PLAN Siteplan:

Legend E

FH Fire Hose D

Drain Pipe

Water Point

WW T

Waste Point Telephone Box

SERVICE CORRIDORS

The

East Mall

East the This drawing Great remains MallDock Ltd. property of Tobacco Gallery and shall not be shown to any third party Theunless permission has beenQuayside obtained in The the form of Quayside written consent from the owner. Bar IF IN DOUBT, ASK

West Mall

Electrical Unit

FP Fire Call Point

Figure 1

S3 | 31

drawn date

AJ - Showplans

2-Oct-13

D D

1651

CORRIDOR

1650

Door Width1.65m

r Ba

1858

784 m2

1008

15541

1702

1164 2150 2150

1640

1730

1599

Door Width 1.74m

1954 Door Height 2.47m

Door Width1.65m

1160

1660 1750

Door Width1.65m

Door Height 2.47m

1677

500 m2

Smoking Area 10

1694

Door Height 2.47m FP

1596

Quayside 5 125 m2

2850

2513

Quayside 4 180 m2

904

Quayside 1

1964

15541

VOID

Door Width1.65m

682

(H) 3.94m To Vault

1587

Door Height 2.47m

1673547

Door Width1.75m

(H) 3.81m To Vault

904

879

1701 1753

Quayside 3

1645

FP Door Height 2.47m

930

1720

1650

1669

Door Height 2.41m

1965

1890

540

Door Width1.65m

Door Height 2.47m

123 m2

D w

1650

5263

(H) 3.19m To Vault

272

1057

1651

1696 1366

995

Door Width1.75m

Storage

700

1657

1673

1648

2110

1668

Door Width1.75m

1706

858

1752

Door Width1.65m

1008

180 m2

879

221 1651 Door Height 2.47m

Bar

D D

1644

(H) 3.75m To Vault

Quayside 2

Door Height 1.93m

2950

1630 1680

Peppermint CafĂŠ

Ramp

Toilets

Door Width1.65m

Door Height 2.47m

1635 1647 1754

941

1225

273

Door Width1.65m

2529

1650

465 m2

819 836

1559

895

1659 1602

1749

Door Height 2.47m

1730

Bar

446 m2

Quayside Bar

Door Height 2.47m

2355

D D D

1935

1295

830 822

760 913

1560 Door Width1.65m

Door Height 2.47m

Door Width1.65m

3850

1758

2284

Smoking Area 9

1677

Door Height 2.47m FP

221 162

939

5500 1701

1912

VOID

939

1549 1908

Door Width1.65m

Door Width 1.65m

Door Height 2.47m

5270

1757 1908

1657

East125Mall 3 m2

1717

Door Height 2.47m FP

1913

1659

Door Width1.75m

1659

(H) 3.63m To Vault

2644

850

Door Width1.75m

Door Height 2.47m

Door Height 1.93m

2298

1642

East Mall 5 123 m2

1616

1699

(H) 3.82m To Vault

2635

CORRIDOR

1160

1642

1713 Door Height 2.47m

East Mall 4 126 m2

1791

(H) 3.89m To Vault

(H) 3.19m To Vault

2110

1638

D w em

1641

(H) 3.877m To Vault

1325

FP FH

1650

Kitchen G3A 222 m2

934

861

1650

1733

Door Width1.65m

Storage G3B 166 m2

920

FP Door Height 2.47m

1598

1750

Door Width1.65m

Door Height 2.47m

1643

1416

Door Width1.65m

1980

1700

Door Height 2.47m

1915

163 m2

1596

1729

1915

5457 1286

1920

690 570556

1910

910

1750

1300

1920

690

1910

1020

1970

East Mall 6

2500

824

1980

917

1727

1750 1745

910

1910

1317

FP Door Width1.65m

13019 2145 2120 1170

(H) 3.63m To Vault

CORRIDOR

1910

1369

3850

VOID

1718

1910

1750

1648

831

1978

1913

Smoking Area 8

1317

5500

1976

1917

East Mall

5290

778

1310

1680 800 790 Door Height 2.47m

2139

West Mall

910

2137

(H) 2.418m

Door Width1.75m

The West Mall Walkways

1950

Door Width1.65m

1317

(H) 3.73m To Vault

Door Height 2.47m

The West Mall Walkways

1930

Door Width1.75m

1660

1650 1750

Door Width1.65m

1650 1750

Door Height 2.47m FP

East Mall 7 w

1650 857 800 1660 1657 1900

Door Height 2.06m

Door Width1.75m

842

The The Quayside Quayside Bar

Door Width1.65m

Door Height 2.47m

1679 1920

1730

1650 1980

2059

Door Height 2.06m

910

Car Park 1 at Level 6

910

TOBACCO DOCK

Door Height 2m Door Width 1.6m

1280

Door Height 2.47m

1135

Lift (630kg max) 1.4m x 1.6m 2.3m high

590587 610610

1290

Lift (630kg max) 1.4m x 1.6m 2.3m high

1374

173.5 m2

2950

VOID

Subject: GROUND FLOOR PLAN

East Mall

1935

3850

Door Width1.65m

The Great Gallery

1670

(H) 3.877m To Vault

2598

Door Width1.75m

1660

Door Width1.75m

5000

Door Height 2.47m

1750

Door Height 2.06m

Door Width1.75m

Door Width1.65m

Door Height 2.06m

3877

906

917

T: +44 (0) 207 680 4001 M: +44 798 000 9798 www.tobaccodocklondon.com

Siteplan:

Smoking Area 7

1650

Historic London's Newest Space 50 PortersFEWalk Wapping London E1W 2SF

Project:

1178 m2

Lift (1500kg max) 1.95m x 3m 2.3m high

Door Width 1.77m

2355 RAMP

Door Height 2.47m FP

The Great Gallery

GENERATORS

(H) 3.89m To Vault

A/C

TOBACCO DOCK VENUE LTD

D w

2598

Door Height 2.47m

5000

5290

1660

1650

3877

East Mall Square

FP FP

Door Width1.75m

5270

Door Height 1.93m

Door Width 1.65m

Door Height 2.47m

Gate Width 1.9m

Door Height 1.96m

850 850

Gate Height Unrestricted

Loading Bay

East Mall 2 172 m2

WAPPING LANE

Door Width1.65m

Door Height 2.47m

1659

Door Width1.75m

1650

Door Height 2.06m

Door Width1.75m

1659

Cloakroom

FP Door Height 2.06m

Lift (400kg max) 0.9m x 1.6m

QUEENS PIPE

LX SWITCHROOM

SECURITY

Step Depth 348mm Step Rise 113mm

WV1 WV2 WV3

PENNINGTON STREET STAIR 2

PENNINGTON STREET STAIR 1

Step Depth 348mm Step Rise 113mm

Lift

8067

5300

NV1

2117

6450

SITE MANAGERS OFFICE

5300

Lift (1500kg max) 1.6m x 2m

MANAGEMENT

2050

418

535

Smoking Area 4

TDVL Office

NV8

NV10

NV9

Smoking Area 2

Smoking Area 5

ENTRANCE STAIRS 1

Toilets

HOGSHEAD PASSAGE

Production Office

PORTERS WALK

Smoking Area 1

NV2

Lift (1500kg max) 1.95m x 3m 2.3m high

NV3

Corridor Max Height 2.13m

NV7

North Bandstand

North Fountain

Car Park At Level 2 FP

W E

Production Office WM (NV6)

Toilets

NV5

NV4

Lift (630kg max) 1.4m x 1.6m 2.3m high Lift (630kg max) 1.4m x 1.6m 2.3m high

FP FH FP

ENTRANCE STAIRS 2

CENTRAL STAIR

FE FH

FFE FP FH

SV13

E E

SV12

SV14

Corridor Max Height 2.13m

Smoking Area 3

Smoking Area 6

Bin

South Bandstand

Bin

FP D

South Fountain

Bin

SV11

SV1

SV2

SV3

FP FP

Bar

E FP FP

SV10

ENTRANCE STAIRS 3

M F

FH FP FP

D FP

FE FP

SV9 E

FH FH

Steps to deck

SV7

Ship (H2.07m)

SV8 E

SV5

SV6

SV4

Door Height 2.1m Door Width 2.1m

Lift (1500kg max) 1.6m x 2m

Door Height 2.1m Door Width 2.36m

FH Steps to deck FH

Ship

Toilets

Figure 1

S3 | 32

| Exterior Space Survey Exterior space: East Gate - clock tower Leicester

Size: Footfall: 18 Million Built: pedestrianised in 2008 Access Times: 24 Hours 7 days a week

Figure 1

About:

Pathways:

This space acts as a circulation area linking The Hichcross Shopping Centre, with outdoor shops and The Haymarket shopping centre. It has several directional paths that can potentially be obstructed. With the tall buildings either side of this area, tall buildings line the streets creating a shadow from South to North through most of the day. Street lights are attached to buildings and are used in the evening. With it being in an open space there is 360 degree access around the exhibition.

This image shows the most common routes taken in this area (highlighted in yellow). The white circle indicates the doors to Highcross Shopping Centre. From there people walk to the right where the Shires Shopping Centre is located, this is the most popular route. The area links bars and clubs, shopping centres, markets and shops together in the centre of Leicester with a high footfall. The green areas marked are the voids, they are not in a direct line of access.

Figure 2 Weathering:

With spaces being exposed to the elements it is important to take into consideration systems or method used when at the design stage. The weather in the UK varies and in relation to winds this exhibition could be subject to gales & gusts that could affect the structure. A safe operating tolerance would need to be set that determines safe winds speeds depending on the anchoring method along with other factors. This exhibition will have multiple locations and each location could have a variation of crosswinds, wind traps, sea breezes and even prominent to tornadoes. From research undertaken there are multiple solutions such as wind deflectors and absorbers that can be used to regulate the wind. The alignment or angle of the exhibition can help and be placed to allow air to pass around. The Sun will have a variety of effects on the exhibition with both light and climate. In the summer months the sun can cause parts of the exhibition to over heat. This can be prevented using shading devices along with a good HVAC system that can also be used to heat the space and makes for good ventilation. It is important to consider the eye-lines of both the tattoo artists and the client as well as another end user, taking into consideration UV protection preventing eye and skin damage.

S3 | 33

Figure 3 During the winter months the exhibition can become subject to snow and ice, therefore it is important to look at non-slip finishes and other health & safety measures such as gritting salt for walkways. In the tattooing areas they will need to be sheltered to create a comfortable environment. It is also important to have sustainable temperature to work in so the client does not become to cold or get to hot and pass out.

Figure 4 When raining the exhibition needs to be water proofed. Materials, finishes and the structure will have to be considered. Flooding is a possibility therefore it is necessary to be raised off the ground preventing damage. It will also need to be anchored or supported to stop it from falling over or moving.

Figure 1

Figure 3

Figure 2

Figure 4

S3 | 34

S4 | 35

Section 4: Conclusion

S4 | 36

| Design rational

The intention for this project is to create a versatile, adaptive structure that altars its arrangement depending on the settings limitations and variety of spaces that include: exhibition halls, shopping centres and inside & outside showcase spaces. The Audi AreaA1 Exhibition precedent study shows is an example of how a structure can be both versatile to weather conditions and the adaptability applications an exhibition can be capable of. The structure will host a range of keen tattoo artists wanting to expand their clientele & showcase their specialist work around the country. This helps both the artists and the economy and brings cultures together. The artists will spend anywhere from one to four days in the selected location operating a temporary tattoo studio housed in the structure. It will also exhibit the scheme, relaying what it is, what it does and how it operated. This has been explored in the branding study. These artists will be elected by the general public/fans (Using a social networking tool such as Facebook). The application process can bee seen in the research stages and shows how the mobile application will operate through the various stages. The aim of this project is to aid tattoo artists by allowing them to branch out as well as at the same time, attracting the public and clientele. This project will also influence people wanting, wondering or even unaware of this sub-genre of art. Based on the research conducted, the scheme works for tattoo enthusiasts as it gives them the opportunity to get good tattoos from artists they follow and admire but may not be able to travel to due to cost of travel or convenience. The scheme works for the general public too as it gives an insight into modern day tattooing for those who either do not know or who think old stigmas are attached and are still current.

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Design Outline |

From the research undertaken so far General: Specific Zones: Connection with social media - This should be Tattooing area / stations - Space for the proposed concept is unrivalled in the design stages and should be equipment (see outline of requirements), with whatâ&#x20AC;&#x2122;s been done before and considered incorporated into the exhibition. This could be natural light, ventilation, shelter. capabilities. During the design stage done using visual displays. the following should be considered. Information area - Artist information, route

Branding - Needs to be instantly recognised as displayed, how the exhibition works, social well as letting the stakeholders know exactly networking links, general tattoo information. what it is and what they do.

Structural design:

Environment:

Adaptable - have set configurations like the Style - 21st century style that matches the way AerA1 exhibition ( Audi AerA1 present study). tattoos have changed from rebellion to a form of expression. (Examples can be seen in the Transportable - simple and quick assembly Tattoo Parlour precedent study) process with feasible transportation. Cleanliness - Sterile environment. Client - Comfortable, warm, welcoming and enjoyable. Artist - Enjoyable, social and creative.

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| Initial Sketch Ideas - Structure

Figure 1 Figure 2:

Figure 2 is a collection of expandable boxes that will divided into zones. This idea uses the space saving technique of sliding inside each other when not in use, halving the width, this allows for easy transportation. The furnishings can be moved to the section that slides inside the other during transportation as leaving the furniture across both sections could block it from closing. The furniture will be spread out on the final orientation. These boxes can conjoined to form a bigger structure if needed.

Figure 1:

This honeycomb structure idea focuses on the relationships between areas using polygons. Hexagons have been chosen as the six sides can be used to connect to another hexagon, be used as a window or to be used as an entrance. With this shape multiple layouts are possible (as seen on the bottom left of figure 1). This idea briefly looks at how they are stored in transit, the walls can be divided into 2 x 3 surfaces that can be sandwiched together (as shown in the top right corner). The floor boards can also be divided and stacked.

Figure 3:

Figure 3 is looking in plan view at how ramps and steps could be used in addition to the exhibition outlined in red (Section 1 and 4). section 2 could also be used as a building if section 3 was removed. This would leave the short sided of section 1(stairs) and the long side of section 4 (ramp).

Figure 2

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Figure 3

Figure 1:

This diagram is experimenting with a pyramid shape that retracts into a gazebo type structure providing shelter for the goings on inside. It can also be used inside venues with sufficient hight roofing to create a presence.

Figure 2:

Figure to looks at how different shapes can be linked similar to the honeycomb structure on the previous page. This is relevant as it allows for the exhibition to adapt the floor coverage depending on location limitations.

Figure 3:

This diagram looks at a free standing structure that can be used as a partition. This was influenced by nature and how flowers open, each section is connected to one another and attached on runners allowing it to be opened and spread across. When not needed it can be closed to form a stack of the sections that can easily be stored and transported.

Figure 4:

Tattoos pierce the skin causing it to bleed, this led to looking into blood cells and the structure of the sell. This sketch consists of various joints ( T-joints and angles with a variations of angle measurement), each joint is used as a connector to link to another joint: forming a structure. This method can produce a huge variety of configurations however the set up time taken will be considerably increased. However key components such as the tattooing areas can be pre-assembled so they do not come apart: only using additions to connect the spaces.

Figure 4

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| Initial Concept Models

Figure 1

Figure 2

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Figure 3

Figure 1

Figure 2

About: These are a collection of initial sketch models created in various forms of medium such as wooden match sticks, plastic and steel. The models explore structural methods each with a different approach using sculptural curves as seen in figures 2 and 3 on page 41, stacking (figurer 1, 2 and 3) and repetition (figure 4).

Figure 3

Figure 4

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Design Influence - Mandala What is a mandala?

Mandala meaning circle in the classic Indian language of Sanskrit represents wholeness as a symbol of organizational structure to life.

Why are mandalas popular to have tattooed? Mandalas are visually appealing and best suite flat areas of flat skin. The variety of designs allows them to appeal to a wide audience. They are easily customisable and are constructed using simple cross shaped lines and circles.

Why a design influence?

The mandala has wide range of configurations like the proposed scheme. They can be heavily decorated or minimal. The outer circle could be seen as the space the exhibition is located. The mandala could be dissected into various parts.

Figure 1

Figure 2 Figure 2:

Figure 2 shows how the mandala circle can be dissected at various points to create semicircle segments that can be arranged in various compositions.

Figure 3:

Figure 3 gives an example of how the four halves can be arranged to create and interesting structure. Each segment can be used as a different zone the gaps could be filled with glass when located outside to make it weather proof, this allows for people to see in and allows for plenty of natural light into space. The entrance into the exhibition can be made via the inside openings.

Figure 3

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Design Influence - Script Fonts | What are script fonts?

Script fonts are popular styles of tattoos and are widely available in different styles. These fonts compliment the curvature of the body compared to a normal font like the one chosen for this report (Adobe Fan Heiti Std). These fonts are published in their hundreds on sites such as Da-Font and Font Space where people have published for public use (some are available to buy). Some Tattoo artists have Figure 1 - Sverige Script Decorated Demo (Version 1.000) their own style of script font that they use giving the custom a unique design.

Why is script font so popular to have tattooed?

Many people have lyrics from songs, inspirational quotes and even names of loved Figure 2 - Vtc-NueTattooScript (Version 1.000 2) ones tattooed. The elaborate and flowing scrip font turns these words into a visually pleasing work of art.

Why a design influence?

Script font can be used as a design influence as the organic flowing shapes can be mimicked from words, maybe the initials of the title.

Figure 3 - Magnolia Font

Figure 4

Figure 5

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Concept Model This conceptual model experiments with module interlinking structures for the proposed project. The model is constructed using 8inch long paper tubes divided into 3 sections that are of varying length. Each side consists of 12 straws and is divided into 3 sections, each section is glued together forming the structure. One section seen clearly in figure 1 shows a wall structure on one end, this holds the structures shape, makes the structure semi translucent (like the Serpentine pavilion 2013) whilst also being visually pleasing. Figure 1 shows the straws in the block position forming one configuration. Figures 4 and 6 show the structure extruded revelling sections in the wall. The red light indicates how light inside can be seen outside the structure.

Figure 1 This module structure has various configurations as a result of the 3 sections this allows it to be very versatile. Figure 2 shows how the sections can be positioned in a line to form one sculptural unit. Figure 3 uses the red light to illuminate the inside revelling the tubes structure; the winding dark lines on each tube. Figures 5 and 7 show how certain sections can be used vertical position to form variations in height and a range of interesting angles.

Figure 2

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Figure 3

Figure 4

Figure 5

Figure 6

Figure 7

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| Zones Required What zones are Required: Scheme Information - Where the concept is displayed with social network links, map and calendar. Interaction Zone - where artists and staff can mix with the visitors. Tattoo Zone x2 - Fitted with equipment requirements (can be seen on outline of requirements), Wash facilities and power. Artist information - to display artists name, original location and work examples. Tattoo viewing area - where visitors and passers by can stop and watch the tattooing process. Services / storage area - for tattooing supplies, cloakroom and other requirements. (WC available on-site at location) Here is an example of how these zones can be bought together:

Tattooing viewing area

Tattooing Zone 1

Artist information (Zone 1)

Tattooing Zone 2

Artist information (Zone 2) Interaction Zone

Scheme information

Services / storage area.

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Section 5: Bibliography

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| Image & Illustration Reference Page 05

FIGURE 1 TUMBLR (2013) tumblr_mwjbddaj7l1sau1xqo1_500.jpg [Online Image]. Available From: http://www. tumblr.com/tagged/tattoo [Accessed 22/11/13] FIGURE 2 TUMBLR (2013) tumblr_lnqpguWbpL1ql5dzno1_500.jpg [Online Image]. Available From: http://26.media.tumblr.com/tumblr_lnqpguWbpL1ql5dzno1_500.jpg [Accessed 22/11/13] FIGURE 3 TUMBLR (2013) tumblr_m8u184Yt6k1rzne84o1_500.jpg [Online Image]. Available From: http://25.media. tumblr.com/tumblr_m8u184Yt6k1rzne84o1_500.jpg [Accessed 22/11/13] FIGURE 4 TUMBLR (2013) davidtattoo.jpg [Online Image]. Available From: http://www.heatworld.com/upload/136198/davidtattoo.jpg [Accessed 22/11/13] FIGURE 5 STYLECRAZE (2013) tattoo-rihanna.jpg [Online Image]. Available From: http://cdn2.stylecraze.com/ wp-content/uploads/2013/06/tattoo-rihanna.jpg [Accessed 22/11/13] FIGURE 6 BUZZFEED (2013) grid-cell-17889-1377282738-53.jpg [Online Image]. Available From: http://www.buzzfeed.com/alexrees/40-top-models-with-fashionable-tattoos [Accessed 22/11/13]

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FIGURE 1 LOST TIME FACEBOOK (2013) Print screen Available From: https://www.facebook.com/losttimecustomtattoo [Accessed 12/11/2013] FIGURE 2 LOST TIME PHOTOGRAPH ALBUMS FACEBOOK (2013) Print screen Available From: https://www.facebook. com/losttimecustomtattoo/photos_albums [Accessed 12/11/2013]

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FIGURE 1 PR CONVERSATIONS (2013) twitter_icon4.jpg [Online Image]. Available From: http://www.prconversations.com/wp-content/uploads/2011/08/twitter_icon4.jpg [Accessed 22/11/2013] FIGURE 2 WAXING UNLYRICAL (2013) url.jpg [Online Image]. Available From: http://www.waxingunlyrical.com/ wp-content/uploads/2013/03/url.jpeg [Accessed 22/11/2013] FIGURE 3 SMFPL (2013) tumblr-logo.jpg [Online Image]. Available From: http://www.smfpl.org/files/images/tumblr-logo.jpg [Accessed 22/11/2013]

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FIGURE 1 SPINDLE TREE (2013) straplines [Online Image]. Available From: http://www.spindle-tree.co.uk/wordpress/wp-content/uploads/2012/10/straplines.png [Accessed 05/11/13] FIGURE 2 NORMAL NICE (2013) diagram_keynote_normalnice01 [Online Image]. Available From: http://www.normalnice.com/wp-content/uploads/2013/01/diagram_keynote_normalnice01.jpg [Accessed 05/11/13] FIGURE 3 BEHANCE.VO.LLNWD.NET (2013) d974eb07b1f1e2a386c37b94f2f3f76b [Online Image]. Availiable From: http://behance.vo.llnwd.net/profiles9/1771045/projects/10314283/d974eb07b1f1e2a386c37b94f2f3f76b.jpg [Accessed 05/11/13] FIGURE 4 STUDIO B SIGNS (2013) business_sign_wood_elmcroft [Online Image]. Available From: http://www.studiobsigns.com/images/business_sign_wood_elmcroft.jpg [Accessed 05/11/13] FIGURE 5 WIKI MEDIA (2013) Corporate_logo_of_JobCentrePlus.svg [Online Image]. Available From: http://upload. wikimedia.org/wikipedia/en/thumb/4/44/Corporate_logo_of_JobCentrePlus.svg/280px-Corporate_logo_of_JobCentrePlus.svg.png [Accessed 05/11/13]

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FIGURE 1- 4 AUTHORS OWN IMAGES Photoshop [08/11/2013] FIGURE 5 ROCKET MARKETING GROUP (2013) screengrab1-1024x742.jpg [Online Image} Available From: http:// www.rocketmarketinggroup.com/wp-content/uploads/2011/04/screengrab1-1024x742.jpg [Accessed 08/11/2013]

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FIGURE 1 B S TATTOO (2013) SWIPBLACK.png [Online Image]. Available From: http://www.bstattoo.com.au/edit/ Tattoo_Machines/SWIPBLACK.PNG [Accessed 22/11/2013] FIGURE 2 MASSAGE ROYAL (2013) portable-massage-table-serenity_30.jpg [Online Image]. Available From: http:// www.massageroyal.co.uk/media/catalog/product/cache/1/image/9df78eab33525d08d6e5fb8d27136e95/p/o/portable-massage-table-serenity_30.jpg [Accessed 22/11/2013] FIGURE 3 PAINFUL PLEASURES (2013) moms_42_piece.jpg [Online Image]. Available From: http://www.painfulpleasures.com/body_jewelry/gallery/Tattoo/tattoo_ink/millenium_tattoo_ink/moms_42_piece.jpg [Accessed 22/11/2013]

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FIGURE 1 ARTS COUNCIL ENGLAND (2013) Arts_Council_England_Logo.svg [Online Image]. Available From: http:// upload.wikimedia.org/wikipedia/en/0/0f/Arts_Council_England_Logo.svg [Accessed 05/11/13] FIGURE 2 ARTS COUNCIL ENGLAND (2013) GACFE-final-version-homepage.png [Online Image]. Available From: http://www.artscouncil.org.uk/ [Accessed 05/11/13]

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FIGURE 1 ARTS COUNCIL ENGLAND (2013) AndyStudio_jpg_576x262_crop_upscale_q85.jpg [Online Image]. Available From: http://www.artscouncil.org.uk/funding/funded-projects/case-studies/newbridge-project-providing-affordable-space-artists/ [Accessed 08/11/13] FIGURE 2 ARTS COUNCIL ENGLAND (2013) no_strings_attached614_jpg_576x262_crop_upscale_q85.jpg [Online Image]. Available From: http://www.artscouncil.org.uk/funding/funded-projects/case-studies/south-east-development-programmes-are-nurturing-young-and-emerging-artists/ [Accessed 08/11/13]

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FIGURE 1 ADVICE ANY VAN (2013) courier-services-delivery-service (2013) Available From: http://advice.anyvan. com/wp-content/uploads/2010/08/courier-services-delivery-service.jpg [Accessed 24/11/2013] FIGURE 2 C.SHLD.NET (2013) spin_prod_229583701.jpg Available From: http://c.shld.net/rpx/i/s/i/spin/image/ spin_prod_229583701 [Accessed 24/11/2013] FIGURE 3 MASTERS EXHIBITIONS (2013) 1343747194_marvin_6_metre_exhibition_trailer_plan.jpg Available from: http://www.mastersexhibitions.co.uk/upload/images/big/1343747194_marvin_6_metre_exhibition_trailer_plan.jpg [Accessed 06/11/13] FIGURE 4 TOW MASTER UK (2013) ht002-on-white-518x263.jpg Available from: http://www.towmasteruk.co.uk/ wp-content/uploads/ht002-on-white-518x263.jpg [Accessed 06/11/13].

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FIGURE 1 INFLICTING INK TATTOO (2013) travelbanner.jpg [Online Image]. Available From: http://www.inflictinginktattoo.com/traveling-tattoo-truck-information.html [Accessed 22/11/2013] FIGURE 2 INFLICTING INK TATTOO (2013) truck-canopy.jpg [Online Image]. Available From: http://www.inflictinginktattoo.com/traveling-tattoo-truck-information.html [Accessed 22/11/2013] FIGURE 3 INFLICTING INK TATTOO (2013) truck1.jpg [Online Image]. Available From: http://www.inflictinginktattoo. com/traveling-tattoo-truck-information.html [Accessed 22/11/2013] FIGURE 4 INFLICTING INK TATTOO (2013) truck7.jpg [Online Image]. Available From: http://www.inflictinginktattoo. com/traveling-tattoo-truck-information.html [Accessed 22/11/2013] FIGURE 5 INFLICTING INK TATTOO (2013) truck4.jpg [Online Image]. Available From: http://www.inflictinginktattoo. com/traveling-tattoo-truck-information.html [Accessed 22/11/2013]

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FIGURE 1 I AM VAGA BOND (2013) 110.jpg [Online Image] Available From: http://iamvagabond.co.uk/studio/ [Accessed 12/11/2013] FIGURE 2 I AM VAGA BOND (2013) 51.jpg [Online Image] Available From: http://iamvagabond.co.uk/studio/ [Accessed 12/11/2013] FIGURE 3 I AM VAGA BOND (2013) 310.jpg [Online Image] Available From: http://iamvagabond.co.uk/studio/ [Accessed 12/11/2013] FIGURE 4 I AM VAGA BOND (2013) bestofhackney.jpg [Online Image] Available From: http://iamvagabond.co.uk/ studio/ [Accessed 12/11/2013] FIGURE 5 I AM VAGA BOND (2013) 451.jpg [Online Image] Available From: http://iamvagabond.co.uk/studio/ [Accessed 12/11/2013] FIGURE 6 I AM VAGA BOND (2013) 321.jpg [Online Image] Available From: http://iamvagabond.co.uk/studio/ [Accessed 12/11/2013]

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FIGURE 1 MUTINY TATTOO (2013) DSCF1745.jpg [Online Image] Available From: http://www.mutinytattoo.co.uk/ index.htm [Accessed 12/11/2013] FIGURE 2 MUTINY TATTOO (2013) DSCF1746.jpg [Online Image] Available From: http://www.mutinytattoo.co.uk/ index.htm [Accessed 12/11/2013] FIGURE 3 MUTINY TATTOO (2013) DSCF1747.jpg [Online Image] Available From: http://www.mutinytattoo.co.uk/ index.htm [Accessed 12/11/2013] FIGURE 4 MUTINY TATTOO (2013) DSCF1748.jpg [Online Image] Available From: http://www.mutinytattoo.co.uk/ [Accessed 12/11/2013] FIGURE 5 MUTINY TATTOO (2013) Print screen Available From: http://www.mutinytattoo.co.uk/contact.htm [Taken 12/11/2013].

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FIGURE 1 SCHMIDHUBER (2013) audi_2010_area1_09.jpg [Online Image] Available From: http://www.schmidhuber.de/en/project/audi-area1-2010-roadshow-barcelona [Accessed 22/11/2013] FIGURE 2 RETAIL DESIGN BLOG (2013) Audi-AreA1-by-Schmidhuber-Partner-Barcelona.jpg [Online Image] Available From: http://retaildesignblog.net/2011/12/16/audi-area1-by-schmidhuber-partner-barcelona/ [Accessed 22/11/2013]

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| Image & Illustration Reference Page 20

FIGURE 1 FILES COLORIBUS (2013) audi-audi-area1-barcelona-2010-2000-20425.jpg [Online Image] Available From: http://files.coloribus.com/files/adsarchive/part_1653/16535005/file/audi-audi-area1-barcelona-2010-2000-20425.jpg [Accessed 22/11/2013] FIGURE 2 RETAIL DESIGN BLOG (2013) Audi-AreA1-by-Schmidhuber-Partner-Barcelona-03.jpg [Online Image] Available From: http://retaildesignblog.net/2011/12/16/audi-area1-by-schmidhuber-partner-barcelona/ [Accessed 22/11/2013] FIGURE 3 RETAIL DESIGN BLOG (2013) Audi-AreA1-by-Schmidhuber-Partner-Barcelona-04.jpg [Online Image] Available From: http://retaildesignblog.net/2011/12/16/audi-area1-by-schmidhuber-partner-barcelona/ [Accessed 22/11/2013] FIGURE 4 RETAIL DESIGN BLOG (2013) Audi-AreA1-by-Schmidhuber-Partner-Barcelona-02.jpg [Online Image] Available From: http://retaildesignblog.net/2011/12/16/audi-area1-by-schmidhuber-partner-barcelona/ [Accessed 22/11/2013] FIGURE 5 RETAIL DESIGN BLOG (2013) Audi-AreA1-by-Schmidhuber-Partner-Barcelona-06.jpg [Online Image] Available From: http://retaildesignblog.net/2011/12/16/audi-area1-by-schmidhuber-partner-barcelona/ [Accessed 22/11/2013]

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FIGURE 1 - 4 AUTHORS OWN (2013)

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FIGURE 1 AUTHORS OWN (2013) FIGURE 2 & 3 AUTHORS OWN ILLUSTRATIONS (2013)

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FIGURE 1 THE TOWER BIRMINGHAM (2013) Birmingham.jpg [Online Image]. Available From: http://www.thetowerbirmingham.co.uk/pages/gallery.html [Accessed 07/11/13] FIGURE 2 PARANORMAL EVENTS UK (2013) york-racecourse.jpg [Online Image]. Available From: http:/www.paranormal-events-uk.co.uk/database/united-kingdom/images/york-racecourse.jpg; [Accessed 07/11/13] FIGURE 3 HILTON (2013) HL_exterior05_675x359_FitToBoxSmallDimension_Center.jpg [Online Image]. Available From: http://www3.hilton.com/en/hotels/united-kingdom/hilton-brighton-metropole-hotel-BSHMETW/index.html?WT.srch=1 [Accessed 07/11/13] FIGURE 4 THEATRES ONLINE (2013) cardiff_millennium_stadium.jpg [Online Image]. Available From: http://www. theatresonline.com/theatres/cardiff-theatres/cardiff-millenium-stadium/images/cardiff_millennium_stadium.jpg [Accessed 07/11/13] FIGURE 5 WHATS IN WAPPING (2013) TobaccoDock.jpg [Online Image]. Available From: http://www.whatsinwapping.co.uk/wp-content/uploads/2010/08/TobaccoDock.jpg [Accessed 07/11/13] FIGURE 6 GOOGLE MAPS (2013) UK [map]. Available from: https://maps.google.co.uk/maps?q=united+kingdom&ie=UTF-8&hq=&hnear=0x25a3b1142c791a9:0xc4f8a0433288257a,United+Kingdom&gl=uk&ei=2Ll7Urz_ FcyqhAe17YHQAw&ved=0CIUBELYD [Accessed 06/11/13]

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FIGURE 1

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FIGURE 1 & 3 YAHOO MAPS (2013) Highcross (map) [satalite map]. Available from: http://uk.maps.yahoo.com/#l at=52.64366524137531&lon=-1.031494134804234&zoom=12&mvt=h [Accessed 06/11/13] FIGURE 2 DIGIMAP (2013) Highcross (map) [Ordnance Servey]. Available from: http://digimap.edina.ac.uk/digimap [Accessed 06/11/13] FIGURE 4 TELEGRAPH (2013) Highcross-web_1830721i.jpg [Online Image]. Available From: http://i.telegraph.co.uk/ multimedia/archive/01830/Highcross-web_1830721i.jpg [Accessed 06/11/13]

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APPLE (2013) Ical [software] Version 3.0.8 Apple, California [06/11/13]

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FIGURE 1 YAHOO MAPS (2013) Highcross (map) [Hybrid satalite map]. Available from: http://uk.maps.yahoo.com/# lat=52.64366524137531&lon=-1.031494134804234&zoom=12&mvt=h [Accessed 06/11/13] FIGURE 2 - 5 AUTHORS OWN IMAGES [18/10/13]

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FIGURE 1&5 TOBACCO DOCK LONDON (2012) Tabacco Docks, 2012. Business Brocure. [PDF] Available at: http://tobaccodocklondon.com/spaces/ [Accessed 06/11/13] FIGURE 2 DIGIMAP (2013) Tabacco Docks (map) [Ordnance Servey]. Available from: http://digimap.edina.ac.uk/ digimap [Accessed 06/11/13] FIGURE 3&4 YAHOO MAPS (2013) Tabacco Docks (map) Available From: http://uk.maps.yahoo.com/#conf=1&start=1& lat=51.51861825386227&lon=-0.06156920688226819&zoom=12&mvt=m&q=E1W+2SF [Accessed 06/11/13]

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FIGURE 1 GOOGLE MAPS (2013) Tabaco Dock (map) [Hybrid satalite map]. Available from: https://maps.google. co.uk/maps?q=tobacco+dock&ie=UTF-8&ei=r5B6UrrRJsSohAeAk4Bw&ved=0CAgQ_AUoAg [Accessed 06/11/13] FIGURE 2 TOBACCO DOCK LONDON (2012) TD-109-of-129_1.jpg (2013) [Online Image] Available From: http://tobaccodocklondon.com/spaces/quayside-spaces [Accessed 06/11/13] FIGURE 3 TOBACCO DOCK LONDON (2013) _DSC7778_2.jpg [Online Image] Available From: http://tobaccodocklondon.com/spaces/east-mall [Accessed 06/11/13] FIGURE 4 STUART PEARSIB PHOTOGRAPHY (2012) _DSC8806.jpg Available From: http://tobaccodocklondon.com/ spaces/vaults [Accessed 06/11/13] FIGURE 5 TOBACCO DOCK LONDON (2013) Meatopia-PWF-0808_1.jpg [Online Image] Available From: http://tobaccodocklondon.com/spaces/walkways [Accessed 06/11/13]

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FIGURE 1 TOBACCO DOCK LONDON, Ground Floor Plan (PDF), 2013. [PDF] Available From: http://tobaccodocklondon.com/downloads [Accessed 06/11/13]

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FIGURE 1 TOBACCO DOCK LONDON, Vaults Floor Plan (PDF), 2013. [PDF] Available From: http://tobaccodocklondon.com/downloads [Accessed 06/11/13]

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FIGURE 1 YAHOO MAPS (2013) High Street & Eastgates [map]. Available from: http://uk.maps.yahoo.com/#lat=52.6 3606947998127&lon=-1.1331474781036377&zoom=19&mvt=m [Accessed 06/11/13] FIGURE 2 YAHOO MAPS (2013) Edited Using Photoshop by author. High Street & Eastgates [map]. Available from: http://uk.maps.yahoo.com/#lat=52.63606947998127&lon=-1.1331474781036377&zoom=19&mvt=m [Accessed 06/11/13] FIGURE 3&4 AUTHORS OWN IMAGE [18/10/13]

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FIGURE 1-4 AUTHORS OWN IMAGE [07/11/13]

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FIGURE 1-3 AUTHORS ILLUSTRATIONS [22/11/13]

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FIGURE 1-4 AUTHORS ILLUSTRATIONS [22/11/13]

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FIGURE 1 - 3 AUTHORS OWN IMAGES [24/11/2013]

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FIGURE 1 - 4 AUTHORS OWN IMAGES [24/11/2013]

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FIGURE 1 THE BUDDHA CENTER (2013) mandala-5.png [Online Image]. Available From: http://www.thebuddhacenter.org/wordpress/wp-content/uploads/2013/02/mandala-5.png [Accessed 22/11/13] FIGURE 2 - 3 AUTHORS OWN ILLUSTRATION [22/11/13]

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FIGURE 1 FONT SPACE (2013) Sverige Script Decorated Demo (Version 1.000) [Online Image]. Available From: http://www.fontspace.com/m책ns-greb채ck/sverige-script-demo [Accessed 22/11/13] FIGURE 2 FONT SPACE (2013) 2535e127d386816c36eac7a2319228fc.png Vtc-NueTattooScript (Version 1.000 2) [Online Image]. Available From: http://www.fontspace.com/vigilante-typeface-corp/vtc-nuetattooscript [Accessed 22/11/13] FIGURE 3 DA FONT (2013) Magnolia Font [Online Image]. Available From: http://www.dafont.com/magnolia.font?text=Example+Of+Font&psize=l&back=theme [Accessed 22/11/13] FIGURE 4 - 5 AUTHORS OWN ILLUSTRATION [22/11/13]

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FIGURES 1-2 AUTHORS OWN IMAGES. TAKEN USING MODEL SCOPE FACILITIES [22/11/13]

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FIGURES 3 - 7 AUTHORS OWN IMAGES. TAKEN USING MODEL SCOPE FACILITIES [22/11/13]

Section Page Background

HDW (2013) tattoo_girl_2.png [Online Image]. Available From: http://hdw.eweb4.com/out/211331.html [Accessed 22/11/13]

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Bibliography |

Document

Text Font - Adobe Fan Heiti Std B Header Font - Txt Rehular Header colour code - R55 G27 B44 Text colour code - C0 M0 Y0 K58 (%) Margins - 40mm Top & Bottom, 12.7mm sides Grid Layout - Rows 4 Colums 3 (2mm gutters)

Maps

DIGIMAP (2013) Highcross (map) [Ordnance Servey]. Available from: http://digimap.edina.ac.uk/digimap [Accessed 06/11/13] GOOGLE MAPS (2013) Tabaco Dock (map) [Hybrid satalite map]. Available from: https://maps.google.co.uk/maps?q=tobacco+dock&ie=UTF-8&ei=r5B6UrrRJsSohAeAk4Bw&ved=0CAgQ_AUoAg [Accessed 06/11/13] YAHOO MAPS (2013) Highcross (map) [satalite map]. Available from: http://uk.maps.yahoo.com/#lat=52.64366524137 531&lon=-1.031494134804234&zoom=12&mvt=h [Accessed 06/11/13]

Case Studies

COUNCIL, A. (2012) South East development programmes are nurturing young and emerging artists [Online Case Study]. Arts Council England. Available From: http://www.artscouncil.org.uk/funding/funded-projects/case-studies/south-east-development-programmes-are-nurturing-young-and-emerging-artists/ [Accessed 08/11/13] COUNCIL, A. (2011) The NewBridge Project: providing affordable space for artists [Online Case Study]. Arts Council England. Available From: http://www.artscouncil.org.uk/funding/funded-projects/case-studies/newbridge-project-providing-affordable-space-artists/ [Accessed 08/11/13]

Books

DEMELLO, M (2007). Encyclopedia of Body Adornment. United States of America: Greenwood Press. All. DUNN, N (2010). Architectural Model making. London: Laurence King Publishing. 1-192. FLORIS, J. et al. (2011) OASE #84: Models. The Netherlands: NAi Publishers RITZ, D (2005). Rolling Stone Tattoo Nation: Portraits of Celebrity Body Art. Boston, New York, London: Bulfinch Press. all. WERNER,M (2011) Model Making. United States of America: Princeton Architectural Press

Online Video

BUZZ FEED VIDEO (2013) What Happens On The Internet In 60 Seconds [Online Video]. Available From: http://www. youtube.com/watch?v=Uiy-KTbymqk#t=53 [Accessed 12/11/13] CHANNEL 4 (2013) My Tattoo Addition. Series, Documentary. Channel 4.

Software

ADOBE SYSTEMS, (2013), Adobe Indesign [Software], CS5 & CS6. Adobe systems, California APPLE, (2013) Ical, [Software], Version 3.0.8. Apple, California RICHARD LYNCH, (2013), Adobe Photoshop [Software], CS5 & CS6. Adobe systems, California

PDF

TOBACCO DOCK, (2012) Tobacco Dock historic Londonâ&#x20AC;&#x2122;s Newest Space Reborn 2012. [PDF] Available From: http://tobaccodocklondon.com/downloads [Accessed 12/11/13]

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| Bibliography Websites

ARTS COUNCIL ENGLAND (2013) Grants For the Arts. [WWW] Available From: http://www.artscouncil.org.uk/funding/ apply-for-funding/grants-for-the-arts/ [Accessed 05/11/13] EBIZ MBA (2013) Top 15 Most Popular Social Networking Sites | November 2013 [WWW] EBIZ MBA Available From: http://www.ebizmba.com/articles/social-networking-websites [Accessed 24/11/13] FACEBOOK (2011) 50 Facebook Facts and Figures [WWW] Available From: https://www.facebook.com/notes/web-hosting/50-facebook-facts-and-figures/10150274471574235 [Accessed 12/11/13] HARRIS INTERACTIVE (2010) Americans and Britons Likelier Than Italians To Regret Decision to be Tattooed [WWW]. Available From: http://www.harrisinteractive.com/news/allnewsbydate.asp?NewsID=759 [Accessed 22/11/13] HAMMERSON (2013) Highcross, Leicester [WWW]. Available From: http://www.hammerson.com/property/shopping-centres/highcross/ [Accessed 24/11/13] HENLEY, J. (2010) The rise and rise of the tattoo [WWW]. The Guardian. Available From: http://www.theguardian.com/ artanddesign/2010/jul/20/tattoos [Accessed 22/11/13] INFLICTING INK (2013) Inflicting Ink tattoo studio [WWW]. Available From: http://www.inflictinginktattoo.com/ [Accessed 22/11/13] JASLIWINSKI. (2012). Why are tattoos so popular in todayâ&#x20AC;&#x2122;s society?. Available From: http://youthvoices.net/discussion/why-are-tattoos-so-popular-todays-society. Last accessed 14/11/2013. LIBRARY HOUSE OF COMMONS. (2010) Regulations of tattooing and body piercing businesses. [PDF] ?Available From: http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&frm=1&source=web&cd=8&ved=0CGkQFjAH&url=http%3A%2F%2Fwww.parliament.uk%2Fbriefing-papers%2FSN05079.pdf&ei=FXGKUtu-NeqN7Qb0j4HgCw&usg=AFQjCNENuBRZUFfMVxgMBCS7qdB8y6M8Mg&bvm=bv.56643336,d.ZGU [Accessed 24/11/13] MANDALA PROJECT (2013) What is a mandala [WWW]. Available From: http://www.mandalaproject.org/What/Main. html [Accessed 22/11/13] MASTERS EXHIBITIONS (2013) Trailer Hire. [WWW]. Available From: http://www.mastersexhibitions.co.uk/pages/trailer_hire.php?content_id=218 [Accessed 06/11/13] PR NEWSWIRE (2013) Americans and Britons Likelier Than Italians to Regret Decision to be Tattooed [WWW] PR NEWSWIRE Available From: http://www.prnewswire.com/news-releases/americans-and-britons-likelier-than-italiansto-regret-decision-to-be-tattooed-58842837.html [Accessed 22/11/13] RETAIL DESGIN BLOG (2011) Audi AreA1 by Schmidhuber + Partner, Barcelona [WWW]. Available From: http://retaildesignblog.net/2011/12/16/audi-area1-by-schmidhuber-partner-barcelona/ [Accessed 22/11/13] S FUJIMOTO (2013) Serpentine Gallery Pavilion 2013 by Sou Fujimoto [WWW]. Available From: http://www.serpentinegalleries.org/exhibitions-events/serpentine-gallery-pavilion-2013-sou-fujimoto [Accessed [22/11/13] TOBACCO DOCK (2013) [WWW]. Available From: http://tobaccodocklondon.com/about/the-venue [Accessed 05/11/13]

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Appendices A -

Regulation Of Tattooing Businesses

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