SHAKERA RAHMAN M00527487 INTERIOR ARCHITECTURE IAD1102 INTERIORS: EXPLORATION
CONTENTS: A SENSE OF PLACE POLIMI PROJECT A PLACE OF IDENTITY
A SENSE OF PLACE: ENGAGE WITH THE SITE TO DESIGN AN ARCHITECTURAL INTERVENTION THAT ENABLES A PARTICULAR TYPE OF ARTIST TO BE PROVIDED WITH A LIVE/WORK STUDIO SPACE.
BRIEF: The design should provide a space that facilitates the internalized world of an artist, enabling the artist to be ‘hidden’ at street level for the majority of the year but with the ability, to ‘unfold’ to reveal the artist’s art and engage with the wider public at large. The artist will work and sleep in the studio. A minimal sleeping, living, shower, toilet and basin facility should be provided. Determine the minimum space this should occupy. Consider the threshold and how natural light will be brought in whilst retaining privacy for the occupant.
SITE: The site location is based in 810 High Road in Tottenham. The building is a grade II listed Georgian house that dates back to 1715-1720. The exterior has been restored however the interior remains a derelict and empty space.
Collage showing location, site and interior
CHOSEN ARTIST AND RESEARCH: The artist chosen for this project is a mathematical artist called Monir Sharoudy Farmanfarmaian. She creates plaster and mirror reliefs, reverse printing on glass and large glass sculptures. She also uses broken glass and reforms them into different shapes and sculptures.The reason for this choice was due to the connection between the history of the site and the artwork created by the artist. Further research into the history of the Georgian era tells us that it was a time of decoration and grandeur particularly for the upper class. The Georgians themselves were seen as vain and obsessed with beauty, so the beauty of Farmanfarmaian’s artwork and use of glass and mirrors subtly hints towards the outlook of Georgians during that era.
DECONSTRUCTION AND REFORMATION:
The concept was created from the way Monir Sharoudy created her work. She cut mirrors and glass then reformed them in an abstract manner.
RESEARCH:
Looking at houses that show deconstruction and reformation in their design. These show a minimalistic approach and a warm experience with a welocoming light.
INITIAL IDEAS:
Initital ideas formed from concept and research
INITIAL IDEAS:
Exploring the idea of deconstruction and reformation by taking apart the existing threshold but allowing it to be put back together. Also looking at how components in the house can be put away and hidden to leave an empty, ‘reformed ‘ space.
INTIAL IDEAS- MODELLING:
Exploring the idea of objects moving through walls
DEVELOPMENT- MODELLING:
Further exploration of objects moving through walls and
looking at different arrangements
FURTHER DEVELOPMENT- MODELLING:
Further exploration of
moving walls and
furniture.
FURTHER RESEARCH/INSPIRATION:
Left to right: Pawson House by John Pawson, Falling Water House by Frank Lloyd Wright, Fondazione querini stampalia by Carlo Scarpa The Pawson house shows minimalism without a sterile feeling.THe use of LED lighting around the edges gives a warmth to the interior. Falling water house was an inspiration as Lloyd Wright aligned the windows with the tree tops to bring the nature closer to the human.The door by Carlo Scarpa shows how minimalism can be broken up into smaller lines and sections to create a more interesting aesthetic.
FINAL DESIGN- PLAN:
Plan view-closed
Plan view-open
FINAL DESIGN- SECTION: A C
Section AB
Section CD
B D
FINAL DESIGN- 3D VISUALS:
Front
Back
Exterior
Plan
Interior
FINAL DESIGN- 3D VISUALS:
Entering
Sleeping
Exhibiting work
Working
Moving walls
Storage
Sitting in the garden
FINAL DESIGN- EXHIBITING THE WORK
When the artist exhibits their work , they pull out the work table from the outside and display their art on the table. THe public can only see the work from the outside and cannot enter the artists home.The appearance of the threshold has been kept the same to retain the history of the original building.It is only when the componets are deconstructed, the architecture of the building changes.
FINAL DESIGN- INTERIOR
The interior and components will be made from corian. THe reason for this is due to the nature of the material. It has a slight translucency which allows for light to pass through it making the room appear brighter.THe white gives a minimalistic appearance whilst the floor to ceiling glass window allows lots of light to enter the room giving the user a warm and welcoming experience. THe floor will be made from polished concrete which reflects light and the white interior. THe edges of the walls and furniture are lined with a slight glow which will come from LED lights. This differentiates the walls from each other but also gives a dramatic atmosphere at night. Storage can be pulled out and pushed back in to give the appearance of one wall. The ladder can be pushed along the wall to reach to higher places.
FINAL DESIGN- WETROOM
The wetroom is sunken to give a spalike and intimate atmosphere.The room is dark and made from poilshed concrete which makes the flowing water similar to water running down rocks in a waterfall. This gives the user a pleasant bathing experience, To enter the wetroom and toilet, the wall has to be pulled out. THe wall can be left open as there is enough privacy due to the surrounding walls.
FINAL DESIGN- GARDEN
THe garden is a place of peace and tranquilty, The floor has beeen made with polished concrete and the table with corian to carry on the interior through to the outside. This merges the line between inside and outside. THe garden and house are separated by a glass wall which can be pushed all the way back to allow the interior and garden to become one. This gives the feeling of nature entering the home but also allows the user to move their bed into the garden if they wish to sleep during the hotter seasons. The garden is lined with glass walls which stop the livng wall and trees disturbing the aritst while they work yet do not break the connection with nature. The trees are sunken to a lower level to allow the artist to see the trees at a human level rather than looking at just the trunks. This again adds to creating a serene environment.
FINAL RENDERED PLAN:
FINAL RENDERED SECTIONS:
POLIMI PROJECT: UPCYCLE MATERIALS FROM AROUND THE
CAMPUS
AND TURN THEM INTO SPACES, SERVICES OR PRODUCTS.
BRIEF: Collect materials from around the campus and uplcycle them into spaces, services or products for the students to use. Choose a space in the university to host your design. Choose one or two functions out of eating/stdying/relaxing/exhibiting/playing. Design and build a prototype of the space/service/product you have chosen and show the process.
SITE: The site location is in the fields near the Grove Building. This site was chosen due to its quietness, emptiness and greenery which all result in a calming environment.
INITIAL IDEAS: Materials such as sheets of metal and wooden planks were found lying around the campus. These were to become the materials for making our space. The main function of our space was to eat and relax. After doing a survey to the students and public we started designing ideas based on our results and materials.
RESEARCH: Looking at existing architecture that have similar forms and locations to our own designs.
Left to right: Falling Water House-Frank Lloyd Wright, SaLo House-Patrick Dillon,Forest Pavilion-nArchitects, Serpentine pavillion-Sou Foujimoto
DEVELOPMENT: After testing our designs in real life we decided that metal sheeting would be too enclosed and not allow the user to interact with nature. Using string and old pieces of plywood, we created a multipurpose chair that could be used for other activities. Using the string, we created an enclosure that allowed the user privacy away from the rest of the university as well as still being able to see the trees and greenery.
Chair development and measurments
FINAL DESIGN- PROTOTYPE:
Different ways in which the space anad chair can be used
VISUALS AND BRANDING:
Visuals showing our final designs and the different ways of using and interacting the chair and space.The chairs would be red with a white logo representing the upcycling scheme as well as identifying as part of Middlesex University. This creates a strong and recognisable branding image .
A PLACE OF IDENTITY: DESIGN A CONTEMPORARY EXHIBITION TO PROMOTE THE WORK OF THE SPODE MUSEUM TRUST AND PLACE THIS IN JUXTAPOSITION WITH THE WORK OF A CONTEMPORARY CERAMIC ARTIST.
BRIEF: Ceramic is one of the oldest man-made materials, and yet contemporary artists today continue to be inspired by this ancient medium, which is currently enjoying a renewed renaissance and attention from artists and curators around the globe. In April 2016 there will be a leading fair for Contemporary Ceramics Exhibition at the University of the Arts London.As part of this growing revival of interest in the craft and art of ceramics you are to design a contemporary exhibition to promote the work of the Spode Museum Trust placing this in juxtaposition with the work of one of a contemporary ceramic artists.
SITE: The site location is within one of the historic buildings at the Spode Factory, Stoke on Trent. In the 19th Century it was one of the two largest potteries in Staffordshire. It was built during the 18th century but closed its doors in 2009.
Collage showing location, site and interior
FURTHER SITE DETAILS:
RESEARCH: Visit to RIBA– Creation of Catastrophe exhibition to see the design and materials used in the structure. The use of mirrors around the top of the room gives an interesting, ‘never-ending’ illusion and can only be seen if you step up to see it.
RESEARCH: Visit to V and A– ceramics collection to see how they are displayed. The displays looked spectactular due to the large mass of ceramics all displayed together. By looking at different perspectives through the glass cabinet, different views of the ceramics were seen which were surprising and unexpected yet still spectacular.
HIDDEN SPECTACLE: The concept of hidden spectacle came from the research done at the RIBA and V+A after seeing how a differnet perspective is needed to see things in a new way. After researching more into the meaning of hidden spectacle, a mini brief was created of what was needed in the design to show this: Seeing things in a different light Making the mundane extraordinary Uncovering the magic
HIDDEN Concealed Unseen Secret Veiled Buried Unknown Out of sight Mysterious Clandestine Covert Obscure
Covered Screened Shrouded Interred Hide from view Withheld Supressed Obscured Cryptic Mystifying
SPECTACLE Sight Marvel Display Phenomenon Show Wonder Scene Event Vision Pageant Manifestation Parade Demonstration Performance Exhibition Expose
CHOSEN ARTIST-LOUISA ZAHAREAS: The artist, Louisa Zahareas, was chosen due to having a similar concept and outlook in her work ‘Screen Mutations’. Her work was interesting as the ceramic art had to be viewed through a video messaging service such as Skype or through facetime to be seen as ‘normal’. This was similar to brief which was about seeing things in a different light and making the mundane extraordinary as her work was not as ‘normal’ as it comes across.Her work was inspired by her life as she realised she didn’t communicate much with her family face to face but rather through using technology.
Screen mutations- ceramic art of seemingly normal, everyday objects distorted to only look normal through a screen.
FURTHER RESEARCH INTO ARTIST: After visiting Louisa’s website and looking further into her work through her thesis and videos, the concept evolved further.The main sentances that stood out have been underlined.
These images represent the concept well as they were things that were ‘hidden in plain sight’. The first carving was on the wall at Spode potteries and was only seen just before leaving the room. The mirrors were from the RIBA exhibition as they were seen from another level . The mirrors encouraged ‘new ways of seeing’.The V+A ceramics made people see things from a new perspective.
CASE STUDY: nendo hidden– unveiling Japanese design singapore
‘The studio selected the content and designed the setting for the exhibition. In the central atrium, sections of the walls and floor were colored with pastel shades of pink and purple in blocks to create geometric patterns around the gallery. Podiums that display the designs are also colored on the top and sides. These patterns align when viewed from a certain angle to trick the eye into thinking there are more structures than actually existing. Examples of this include a set of wooden stools that appear to be placed at the top of a flight of stairs, while more illusionary steps appear to lead into a pit where a tall podium is set. At the back of the space, a two-tier stack of cubes appears to continue into a pyramid form by using graphics on the wall.’
CASE STUDY: paul cocksedge veil milan
‘‘Veil’ by Paul Cocksedge Studio creates an incredible visual illusion; when viewed shimmering curtain reveals its hidden secret: an iconic image set within the canvas the viewer looks back at the curtain, the image disappears. Cocksedge sees this first Swarovski Crystal Palace as
through a mirror, the of crystals, and when edition of ‘Veil’ for a romantic illusion.’
CASE STUDY: nendo border tables tokyo
‘The Border pieces were created for a solo exhibition of Nendo’s work in Omotesando, Tokyo, and designed as an alternative to the “average specification” of furniture created for mass production. The Border pieces were created for a solo exhibition of Nendo’s work in Omotesando, Tokyo, and designed as an alternative to the “average specification” of furniture created for mass production.’
CASE STUDY: tetsuya ito salon omiya
‘This is a project to open an additional salon for the young owner who is running local salon in the neighbourhood. “I used printed translucent construction cover screen as a divider and make this booth as a small misty building inside of another building. The reason I selected this material is this mesh structure can make translucent effect and at the same time for very tight budget. Another flat building is for manicure and pedicure salon and set personal styling shampoo room under the existing loft. I made the chandelier by tying circle fluorescent lights and hanging lights inside the screen cylinder at the staircase to connect two separate areas as one design concept.”’
CASE STUDY: i29 the frame store– pop up shop amsterdam
‘As well as highlighting products on display, the mirrors conceal changing rooms and exhibition spaces, and reflect original features including wooden columns. Plinths with mirrored sides and black surfaces support a selection of furniture and products, while black metal frames rise from the some of the plinths to provide clothes rails and shelves for other merchandise. Two larger reflective boxes aligned along the centre of the room house the changing rooms, as well as small gallery spaces with black-painted walls. Stairs at the rear of the space allow shoppers to get closer to a sculpture and a mannequin positioned above the changing rooms, and to peer over the top of the walls to gain an unusual perspective of the entire store. For those on the ground, the appearance of people partly rising above the shiny walls creates "a surreal image for the other visitors" that complements the visual effects created by the mirrored surfaces, said the designers.’
CASE STUDY: glithero fantoom exhibition belgium
‘Glithero has used the Pepper's ghost illusion – commonly used in theatres or haunted houses – to reflect objects laid horizontally in crates onto sections of suspended glass so they appear to stand vertically within the museum's rooms. The technique requires specific lighting conditions and the right angle of the glass sheet to make the image on the transparent pane appear realistic. Glithero's aim is to capture the moment that an object is removed from display, leaving a faint trace of its presence after it has been packed away – "the last frame in a transition to nothingness". "Fantoom is about perception and transience," said Gilthero. "Think about the discoloured imprint on wallpaper when a painting has been taken off the wall. When an object that has been in our presence for a very long time is gone, it feels as if some of the object's virtues still remain in place."’
CASE STUDY: nendo dining table setting milan
"’The table and chairs gradually increase in height the further into the room one goes, playing with the spectator's sense of perspective as well as allowing him/her to look over all the items on display from the gallery entrance," said Nendo. Towards the back of the space, the stretched chairs can be used as stepladders for better views of the products. "Although resembling an ordinary dinner table, by experimenting with the functional relationship between tables and chairs, the end result is a uniquely conceptual exhibition space that enables the spectator to view all of the products from various angles and distances," Nendo said.’
CASE STUDY: clouds architecture office yoga studio new york
‘Aiming to partially blur the edges and depth of the room, dampened plasterboard was moulded to create the curved walls. The architects hoped that by creating a single crease along the curved walls and ceiling, they would pro-vide the room with "aspects of finitude and infinitude, restriction and openness," reminding occupants that "the edge is meaningful and gives a sense to the space it encloses". The ceiling tapers towards a large window, which acts as the horizon point of the room.’
INITIAL IDEAS:
White pen drawings on photos exploring concepts found in research. Plan exploring the idea of a seemingly never-ending space. Drawings exploring magnification and perspective.
CONCEPT EVOLVEMENT: As the project went on, the concept of hidden spectacle evolved further and changed to the idea of digital mutation. Louisa’s work presents the idea that technology is taking over peoples lives. From this thought, the project changed towards the idea of a digital mutation over Spode. Spode potteries would become the backdrop for the design and as you move along the exhibition, the history of spode becomes slowly erased whilst a new digital ‘skin’ forms over it. As Spode was known for is hand-crafted ceramics, it suited the concept better that the exhibition moves from a solid,3D and traditional craft towards a contemporary, 2D image on a screen- a mutation of the ceramic. Louisa’s work is based on what you see through a screen so to further encourage the idea of a digital mutation, by the end of the exhibition the public will feel as if they have become trapped within a screen. This challenges the publics original perception of Spode and connects with the original concept of ‘hidden spectacle’ and ‘new ways of seeing’.
Mind map exploring ways of showing hidden spectacle
Research into how mutation can be shown
Experimenting with bicarbonate of soda and pva glue to see how mutation can be shown as a material
DEVELOPMENT VISUALS:
Visual showing what the first room the public see as they enter Spode. They enter a mould cellar ,which shows the previous history of spodes ceramics, and are immediatley drawn to a large screen showing Louisa Zahareas’ work in its ‘normal’ state. The concept of digital mutation was inspired as well by a youtube cult video called ‘Dont Hug Me I’m Scared’ which is a cartoon based around 3 characters who are living their normal daily lives when one of them finds out their entire lives are being filmed.The video questions their perceptions of whats reality and whats fake.
DEVELOPMENT VISUALS:
Through an accident on photoshop of filling in too much of a picture, the idea of mutation being a physical skin growing inside Spode came about. The image below shows that the accident with the paint bucket actually made the mutation look more life like and ‘spreading’ over the Spode factory. This led to the idea of keeping some of the Spode machinery withing the building to further emphasise the idea of the erasing of Spodes history and a new skin taking over. The visual shows the second room which the public would go to. It shows the reality of what they have seen on the screens of the previous room and they can see Louisa Zahareas’ artwork for what it really is which is distorted ceramics of everyday items such as bowls and cups.
DEVELOPMENT VISUALS:
The third room in which the public will enter shows the screen view and the real life objects face to face so they can see the connection between the two. This room is the ‘behind the scenes’ part of the exhibition where the public see the video of the first room for what it really is. Using Peppers Ghost illusion, the black screen hides a person which reflects back as a ‘ghost’ in front of the work . This further strengthens the idea of a digital world mutating around them. The room will look nearly covered in the new digital skin and only a few parts of the original factory will be seen. Through out the entire exhibition, the green markings on the floor subconsiously lead the public through each room allowing their circulation to see the entire factiory and not just the art.
DEVELOPMENT VISUALS:
THe final room shows the mutation finally complete . Another one of Louisas works is on display but as a flat 2D image printed on the floor. A large milk carton suspends pouring milk onto a flat, cereal bowl, which in perspective looks as if it is 3D.This is the final stage of the exhibition where none of Spode can be seen but rather a new digital skin. The 2D ceral bowl reinforces the idea of the public going from a 3D , ‘real’ room to inside a screen where everything is just an ‘image’.This makes the public themselves feel like a 2D image behind a screen.
FURTHER DEVELOPMENT OF MUTATION:
Further experimentation of appearance of mutation using mod-rock. This was inspired by a scene in the film ‘Coraline’. Coraline sees the world around her crumbling apart and almost ‘mutating’to reveal an empty white world. This idea was similar to the concept of a digital mutation and formed the appearance of the new skin that would be created within Spode.
FINAL DESIGN-PLAN:
FINAL DESIGN-SECTION:
FINAL DESIGN-VISUALS:
4 3
1
PLAN
THRESHOLD
ENTERING
ROOM 2
2
ROOM 2
ENTERING ROOM 4
ENTERING ROOM 3
ROOM 4
ROOM 3
LEAVING
ROOM 3
FINAL DESIGN-VISUALS:
Threshold: The entrance has been kept the same with only a holagram hinting at the contents of the exhibition. The green marking has been extended outwards to encourage the public to come in.
FINAL DESIGN-VISUALS:
Entering the exhibition
FINAL DESIGN-VISUALS:
Entering the first room to a screen showing Louisa’s work in action
FINAL DESIGN-VISUALS:
Entering the second room where the mutation has started. The boards lead the public through the exhibition so they see the entire room. Material of new skin: Acrylic/Plexiglass
FINAL DESIGN-VISUALS:
Looking at the artwork up close
FINAL DESIGN-VISUALS:
Close up of display design- inspired by sou foujimotos serpentine pavillion
FINAL DESIGN-VISUALS:
Display of artwork in
third room
FINAL DESIGN-VISUALS:
Entering the third ‘behind the scenes room’. The windows gives the illusion of a fuzzy screen. This makes the public feel as if they are going intoo the screen and into the mechanics of it.
FINAL DESIGN-VISUALS:
Fuzzy windows made with eco resin that give the illusion of a broken screen. This blurs the outside making it unrecognisable.
FINAL DESIGN-VISUALS:
Entering the fourth room where the mutation is complete. The public feel as if they are trapped behind a screen. A large cutout of a milk carton and milk are elevated with a projection of running milk pouring out of it. This was inspired by the cutouts at kings cross with digital projections on them.
FINAL DESIGN-VISUALS:
The windows in the fourth room are made from radiant plexiglass which has a reflective surface but with a rainbow colour. This enhances the idea of the public being trapped behind a screen as they can see their own reflections as well as Spode outside in a rainbow tint.
FINAL DESIGN-VISUALS:
Leaving the fourth room into a gridded space with the milk projection running along the floor. This is the final transformation of spode turning from a 3D real experience to a 2D digital scene.