SHA KERA RAH MAN
1
shakera rahman M00527487
interior architecture
2016 -- 2017 IAD2101: development
introduction//brief The Museum of London tells the story of London from its pre-history to the present day. Sitting on the edge of the Barbican, it was designed in the 1960’s by Powell & Moya. Opening in 1976, the building was developed and extended in 2010 by Wilkinson Eyre Architects. While the Museum of London is preparing to vacate the site to make way for a concert hall, you will investigate ways in which the museum and its public spaces can accommodate a range of resident artists and performers, who are performing at the nearby Barbican Centre. New activities rooted in music and dance performance will be inserted into the spaces on the edge of the existing setting of the Museum of London. The interventions will not only occupy the physical spaces on the edge of the museum but also the temporal space of the 24hr city; the museum and the spaces that surround it, currently deserted at night ,will become activated throughout day and night, performing in new ways. Working in groups, you will carry out a detailed analysis of your allocated area that both measures and records the fixed architectural elements in the space, and traces the passage of light and occupancy. In your groups you will carry out a detailed photographic survey of your part of the building and perform a measured cross sectional survey.
site The allocated site is situated at 140 London Wall in Farringdon. It is an underground stairwell that links the upper ground of the Museum of London with the underground roads. The main features of the site are the many staircases and also a bridge that connects the site to London Wall which is a long, busy road that occupies office buildings and many eateries. The site is rarely used by the public. It’s main use is by delivery vans but it is also a regular smoking point for office workers. The stairwell is gloomy and dark with minimal light entering it. The overhead bridge blocks any light entering the site as well as the ceiling which has concrete beams running through it. Light only enters through the open side below the bridge. Each staircase runs at a sharp angle, giving the site a strong, geometric configuration. Dark, dramatic shadows are cast by the heavy Brutalist structure and this creates an eerie and cold atmosphere. The stairways are narrow with a wide balustrade lining the entire structure.Concrete is a prominent material in the site with the only different material being the large back wall which is studded with heavy, black tiles in a linear pattern. The users of this site mainly consist of delivery vans as well as the odd taxi in terms of the road adjacent to the stairwell. The stairwell itself is infrequently used by the public however it is sometimes used by the office workers when they leave work as well as tourists that have lost their way. The underside of the stairwell is a prime smoking spot for office workers who frequently use it. Due to this there is a cigarette disposal box on the wall. The site overall is unwelcoming and gloomy which discourages a lot of people from entering it. The appearance and materiality of the stairwell is in direct contrast to the surrounding area which is bright and airy in comparison. Overall this site remains hidden from view despite its striking appearance.
site pictures The site has many viewing platforms which allows the public to see the ground floor clearly from different angles. The space has a double height ceiling which allows light to enter the space and give a spacious feeling.
site orthographics//sectional model
Drawings in scale 1:100
Upper Plan
Front Elevation
Model in scale 1:20 Material: MDF
Lower Plan
Side Elevation
existing users in the site The main users of this site were delivery vans as there was a loading bay further in through the site. Other vehicles such as taxis and lorries also passed through. This meant the main road was quite unsafe and the site was also very loud due to this. People also used the stairways to pass through to the museum. The office workers used the stairs and bridge when they left for their lunch break. The stairways were also a place where lost tourists ended up as they were looking for the museum.
Another exisitng user of the site was the office workers that worked in the office building on London Wall. The workers frequently came out for smoking breaks in groups or by themselves. Their movements were mainly confined to the doorway and under the roof shelter. The smokers breaks were around 10-15 minutes long and most of them came in groups of 1-2.
client Kodo are a “mystery� Japanese drumming group who originate from Sado Island in the Chubu region of Japan. Their performances include dancing, singing, and music however it is mainly centred around the traditional Japanese taiko drum. They are inspired by the sights and sounds of Sado Island and usually compose the music themselves. They have a large presence in Japan but are also well known worldwide. Kodo members usually have long generations of drummers in their family and maintain simple lives, often following in the same footsteps as their ancestors. Some members are rice farmers who work on rice fields during the day and perform at night. Kodo drummers are known for their simple yet strict lifestyle regime which includes an intensive exercise routine of running at least five kilometres a day , taiso which is a form of Japanese stretching and also other exercises.Their diet consists of traditional Sado island dishes and often contains fresh rice from the rice fields. Their mornings are spent researching and reading about Taiko drumming and also teaching in their apprentice scheme they run for people who want to join the group. Mealtimes are carried out in a traditional manner with everyone eating together and clearing up together. Evenings are usually for rehearsals, as well as travelling to hotels and b and b’s to prepare for their performances and tours. The Kodo performances are spectacular and bold. Set on dark stages with dramatic lighting, the taiko drum usually takes centre stage with lanterns lighting it up. The colours are bright with black, red and gold being the primary colours. The Kodo members are usually dressed in traditional Japanese garments such as kimonos or fundoshis or costumes if their performances are stories. The rhythm of the drum resonates through the entire hall as the powerful beat echoes. It is ominous and steady at first then becomes fast paced with other members joining in with cymbals and other instruments. The movements of the drummers are powerful too, every hit to the drum is thunderous and the performers themselves have immense unyielding energy. Overall the performances are a spectacle and capture everyones attention.
drawn together You will produce a beautiful image that will help you establish visual and conceptual connections between your allocated performer and the context of the Museum of London. During your site visit, you will be required to select an object from the museum’s collections. Your choice is entirely up to you so select something that you find particularly interesting. This could be due the object’s story, its materiality, purpose or symbolic value. Be prepared to articulate your reasoning for its selection. The object does not need to be related to performance - often objects that seem the most disconnected can establish the most interesting relationships within your project. The outcome of this mini brief wiWll be the most beautiful image you have ever produced. However, rather than starting with a blank page, we are going to ask you to look to the work of others for inspiration. Choose an image from the selection provided that appeals to you and you would like to imitate.The task now is to re-appropriate the image to establish a relationship between your chosen object and your allocated performer. The methodology for this is going to be a process of montage and modification in order to alter this image to tell your story. You may edit parts of it out, replace sections, duplicate certain parts or even re-draw it. What is important is that the ideas are legible and easy to understand and that the visual craftsmanship is not diminished.
The chosen artwork to imitate is Jocob Whibley's 'XYZ'. The reason for this choice was because of the rigorous geometry and colours which had similarities between the mosaic.
The chosen object is a Roman mosaic from Milk Street,2nd Century. Limestone Tesserae
DRAWN TOGETHER // RESEARCH
Research page examining Kodo performances and identifying similarities and connections between Kodo, Jacob Whibley and mosaic.
drawn together//research Identifying similarities between the artist, ibject and performer
OBJECT ARTIST
fragmented mellow muted neutral appealing to the eye
shaped
old
orderly
garish
layering overlap
geometric chaos
striking orderly precise
PERFORMANCE wild bold energetic powerful
These words were written down after watching various Kodo Performances. They describe the feelings, emotions, visuals and sounds of the shows. Markings made based on rhythms of Kodo after listening to them perform
research//drawings
These are blind markings made based on the rhythms and beats from the Kodo Performances. They represent the taiko drum beats and the power and rhythm felt whilst watching.
The blind markings were then translated digitally into patterns and prints on Illustrator and Photoshop. Some of the patterns have been turned into mosaic patterns to represent the mosaic from the Museum of London.
Leather representing the animal drum skins used in the Kodo performances
materiality Origami paper cranes representing the acrobats in the performances
Mosaic printed on to brown paper imitating Jacob Whibley
Origami paper representing the colours in the performance
performing on time A beautiful and concise timeline diagram that illustrates the separate daily (and nightly) rhythms of the Museum of London, the public spaces surveyed as part of your site research, and of your individually allocated performer. Any overlaps between these rhythms need to be identified clearly: What happens in parallel? What happens in discrete segments of day and night? How does the Museum perform during day/night? How are the public spaces occupied? And what does your performer do during the day and night? Within this diagram you need to illustrate at least three interesting/important moments of activity. You also need to research the Museum, public spaces and performer to understand how they operate and what they do throughout 24hrs. Use sketching to quickly evolve the nature of the diagram before working it up beautifullWy.
timeline research
PERFORMING ON TIME // RESEARCH
Produce a beautiful and concise timeline diagram that illustrates the separate daily (and nightly) rhythms of the Museum of London, the public spaces surveyed as part of your site research, and of your individually allocated performer
Looking at the Simpsons to get ideas on the graphic style of cartoons. The simple shapes used in this specific episode is inspiring as they communicate the setting well without much detail.
MADLOVE Rosemary Cunnigham
KEY MOMENTS
The Simpsons Matt Groening
Rosemary Cunnighams comic strips uses few colours and dynamic shapes yet still manages to engage the viewer. The style of the comic is also clear and easy to understand.
preliminary sketches
preliminary sketches
day 6AM: TAISO
kodo apprentices
breakfast
a day in the life of a kodo
HARVESTING RICE
performer
traditional sado island lunch
researching
surveyors
morning delivery
office workers go to lunch
daily rhythms of 140 london wall 9am: office workers come outside to smoke
TOURS
rhythms of the museum of london
london wall bar and kitchen
preparing museum for visitors
10am: museum opens
visitors eat lunch at museum restaurant
packing up
la
go to a b & b
aa
aa
a
night
going back to b&b
rehearsals
7pm: performing leaving work
sleeping rough
late night deliveries
visitiors start leaving
staff leave for home
museum closes
close survey You will produce a detailed and beautiful orthographic drawing through close study of an area of (or near) your chosen PochĂŠ space at 1:1 scale (A3 size). The plan or elevation you produce will capture the junction between at least two materials; materiality, surface quality, texture, scuffs and imperfections will be revealed through this drawing. It can show (part of) your PochĂŠ space, or can be located adjacent to it. You will use sketching, tracing, and some photography to capture every detail of your A3-sized surface area. Not unlike an archaeologist, you will need to capture every detail and quality you see, and later translate these into a neat and accurate Vectorworks drawing. Lineweights will be used to differentiate surfaces from edges, and annotation is used to support the drawing in communicating what you have observed, noting all the above mentioned qualities, and highlighting those that the black-and-white line drawing might not be able to capture, such as colour and particular surface qualities.
close survey development
First attempt at close survey of a copper pope in a concrete pillar. The hatch was too small and it wasnt defined enough so it was not an accurate representation.
Hatched pieces of gravel were changed into line thicknesses instead.
poché The term Poché is derived from the French word for pocket. When used in the context of architecture, it refers to the areas of an architectural plan or section that are filled-in, often by cross-hatching or solid black, to show wall thicknesses, floor thicknesses and all other solid areas that intersect the plane of the section cut. For this mini brief, your task is to find a small area of space that is surrounded, at least in part, by solid mass. While on site at the Museum of London you will need to choose your own Poché space. The location of this is entirely your decision and could be inside the museum or on the podium area around the outside. It could be the space between an exhibit and a display case, the underside of an interesting object, or a gap in the structure of the building. You will need to study this space in great detail; through drawing, photography and writing. You will need to produce a high quality model of your chosen Poché space that successfully communicates the relationship between solid and void. This model should be made of no more than two materials of your choice, however these materials must be of a high quality that gives you the opportunity to make a highly crafted and refined representation of your space. Suggested materials include: plaster, resin, wax, blue foam, wood and metal. You should consider using techniques such as casting and carving to make your model and you will most likely need to make several iterations. Once completed the Poché model must be photographed to a professional standard in the photography studio with an emphasis on communicating its interior qualities.
chosen poche
The chosen object from the Museum of London is a fish trap with stone weights from the 1400's or 1500's. It was used to catch fish and is made from willow. The trap is woven together by willow twisted around in the opposite direction. The shape of the trap is flat and tapers near one end. The fish trap was chosen as a poche because it is enclosed all the way around. It also has small gaps in it which light passes through which could be an interesting feature when translated architecturally.
chosen material//research
POCHE // RESEARCH
After playing around on photoshop with pictures of the poche, the idea to use wax as the chosen material was made Looking theit type of light quality to be recreated in other work as well as light quality in a wax model. after looking at a negative of the poche. . Wax has many different properties thatatmake an interesting material for this poche. When wax is lit up it produces a subtle glow and when melted it can be shaped and formed into many different shapes.
Looking at light quality in existing wax models
Light quality present in wax models.
researching light quality
Looking at the type of light quality to be recreated . Left to right; Louis Kahn, Louis Kahn Peter Zumthor
testing//developing//process
TESTING // DEVELOPMENT // PROCESS
TESTING // DEVELOPMENT // PROCESS
Creating wax sticks using play wax dough assticks a mould. This produced play different Creating using results each time depending on how the dough was sealed.
dough as a mould. This produced different results each time depending on how the dough was sealed. Some cylinder whereas others were more organic. The cons of this process was that it was time consuming and slow
Creating wax sticks using play dough as a mould. This produced different res cylinder whereas others were more organic. The cons of this process was tha
Creating lots of wax sticks in one go using clay and making holes to fill it up. The cons of this process was that the sticks did not fully form or b apart.. This process was faster than the playdough however did not create full size sticks.The clay also stuck to the wax which was difficult to w
each time depending on how the dough was sealed. Some were perfectly was time consuming and slow
Some were perfectly cylinder wheereas the others were more organic. The cons of this process was that it was time consuming and the results were unpredictable.
cons of this process was that the sticks did not fully form or broke as the clay was taken e sticks.The clay also stuck to the wax which was difficult to wash off.
Creating of sticks wax inandone clay and making holes to fill it up. T Creatinglots lots of wax in onesticks go using clay makinggo holes tousing fill it The consprocess of this process was that thefaster sticks did notthan fully formm or broke apart..up.This was the playdough however did not create ful as the clay was taken apart.
TESTING // DEVELOPMENT // PROCESS
testing//developing//process
duced different results each time depending on how the dough was sealed. Some were perfectly s process was that it was time consuming and slow
OCESS
Creating wax sticks using play dough as a mould. This produced different results each ti cylinder whereas others were more organic. The cons of this process was that it was tim
different results each time depending on how the dough was sealed. Some were perfectly cess was that it was time consuming and slow
Creating lots of wax sticks in one go using clay and making holes to fill it up. The cons of apart.. This process was faster than the playdough however did not create full size sticks.T
This process was faster the playdough however did not create full sizethe sticks did not fully form or broke as the clay was taken holes to fill it up. The cons ofthan this process was that sticks. The clay also stuck to the wax which was difficult to wash off. did not create full size sticks.The clay also stuck to the wax which was difficult to wash off.
to fill it up. The cons of this process was that the sticks did not fully form or broke as the clay was taken ot create full size sticks.The clay also stuck to the wax which was difficult to wash off.
Tying wire to a stick then dipping continuously between waxx and cold water to form a strand of thick wax . Tying wire toprocess a stick dipping wax The cons of this wasthen that it was difficult tocontinously take off the wirebetween and often broke as itand came cold off. water to form a strand of thick wax. The cons of this process was that it was difficult to take of the wire and often broke as it came off.
DIppingDipping a skewer intoawax that has into settledwax a little then dipping into water. Thisthen wasinto a fast method xcold and cold Dipping acoldskewer wax water to water to skewer that has settled a little dipping intothat has settled a little then dipping into however it produced more organic shapes which meant all of them were different shapes and lengths. as difficult to cold water. This was a fast method however it produced more at it was difficult to cold water. This was a fast method however it produced more organic shapes which meant all of them were different shapes and organic shapes which meant all of them were different shapes and lenghts. lenghts.
Model testing the stability of sticks stuck together with hot wax. The model stayed upright and was strong.
testing//developing//process TESTING // DEVELOPMENT // PROCESS
TESTING // DEVELOPMENT // PROCESS TESTING // DEVELOPMENT // PROCESS This process involved filling straws with wax by submerging them, closing the top with my thumb to keep the wax in then THis process involved filling straws with wax by submerging them, closing the top with my thumb to keep the wax in then cooling in water. Many could be done quickly and this cooling in water. meant when i needed one, I had to dip it in hot water to soften the wax then squeze it out of the straw. This produced identical sticks and lots in a short amount of time.
THis process involved filling straws with wax by submerging them, closing the top with my thumb to keep the wax in then cooling in water. Many could be done quickly and this The process was quick so many could be made in a short amount of time. This process produced identical sticks. meant when i needed one, I hadwith to dip in hot water to soften waxthe then squeze it out of the produced andMany lots incould a short of time. THis process involved filling straws waxit by submerging them, the closing top with my thumb tostraw. keep This the wax in thenidentical cooling sticks in water. beamount done quickly and this meant when i needed one, I had to dip it in hot water to soften the wax then squeze it out of the straw. This produced identical sticks and lots in a short amount of time. The base of the model was created by using a wax malter to melt a large quanitity of wax then poured into a wooden base. It was left to set then the mould was removed.
To make the poche, card was used as a mould and the wax sticks were placed on top and stuck together with hot wax. The sticks were lined around the mould in lines. The The base ofhad the model was some made using wooden mould whichtomelted wax waspieces poured into. candle of athe wax used glue the together blackened the wax. first this was a set back however similar the chipping of The base of burnt the model was created by using a wax malter to melt a which large quanitity of wax thenAt poured into a wooden base. It wasthe lefttappearance to set then thewas mould wastoremoved. the wicker on the fish trap so the black wax was poured over the model. The base of the model was created by using a wax malter to melt a large quanitity of wax then poured into a wooden base. It was left to set then the mould was removed.
TESTING // DEVELOPMENT // PROCESS
testing//developing//process
TESTING // DEVELOPMENT // PROCESS
THis process involved filling straws with wax by submerging them, closing the top with my thumb to keep the wax in then cooling in water. Many could be done quickly and this THisone, process wax by them,itclosing the straw. top with thumb toidentical keep the waxand in then in amount water. Many could be done quickly and this meant when i needed I hadinvolved to dip it filling in hotstraws water with to soften thesubmerging wax then squeze out of the Thismy produced sticks lots cooling in a short of time. meant when i needed one, I had to dip it in hot water to soften the wax then squeze it out of the straw. This produced identical sticks and lots in a short amount of time.
THis process involved filling straws with wax by submerging them, closing the top with my thumb to keep the wax in then cooling in water. Many could be done quickly and this meant when i needed one, I had to dip it in hot water to soften the wax then squeze it out of the straw. This produced identical sticks and lots in a short amount of time. The base of the model was created by using a wax malter to melt a large quanitity of wax then poured into a wooden base. It was left to set then the mould was removed. The base of the model was created by using a wax malter to melt a large quanitity of wax then poured into a wooden base. It was left to set then the mould was removed.
To make the poche, card was used as a mould and the wax sticks were placed on top and stuck together with hot wax. The sticks were lined around the mould in lines. The To poche, cardused was used a was mould andpieces the as waxasticks were placed onthe topblackened and stuck together withwax. Tomake make the poche, card used mould and wax sticks were placed onthis topwas andastuck together with the hot tappearance wax. The stickswas were linedto around the mould candle had burnt some ofthethe wax toasglue the together which the At first set back however similar the chipping of in lines. The hot wax. The sticks were lined aroundof thethe mould. The used candle had burnt some the wax used to glue thewhich pieces blackened the wax. At first this was a set back however the tappearance was similar to the chipping of candle had some wax tothe glue theofpieces together the wicker on the fish trap so theburnt black wax was poured over model. together which blackened the wax. the wicker on theby fish trapasowax themalter black wax wasapoured over theofmodel. The base of the model was created using to melt large quanitity wax then poured into a wooden base. It was left to set then the mould was removed.
To make the poche, card was used as a mould and the wax sticks were placed on top and stuck together with hot wax. TheAtsticks lined around mould lines. first thiswere was a set back however thethe appearance wasin similar to theThe chipping of candle had burnt some of the wax used to glue the pieces together which blackened the wax. At first this was a set back however the tappearance was similar to the chipping of the wicker on the fish trap so the black wax was poured over the model. This model the wicker on the fish trap so the black wax was poured over the model. collapsed due to the placement of the sticks. It was remade again in a different
final model
poche details
Overall the poche was succesful as it looked very similar to the fish trap. Although the previous model broke, the final model was changed so the sticks were overlapped instead of in lines so the structure was stronger and also looked more like the weaving of the willow due to the organic appearance. To make the model even stronger, string dipped in wax and moulded into a structure was attatched on the inside.
rehearsing around the clock Using your Poché model as a starting point, you will develop a concept model that brings together poche and performer. This will consider key qualities of your performer,and will test how those influence and advance the earlier P ch é model. This should be considered as a process of remaking - use the same materials and techniques - but this time you must also incorporate a conceptual response to your performer. The space for your performer will inhabit your site, accommodating the three key activities over 24hrs. This space should be no larger than 7x7m in plan, but is unlimited in height; it needs to take into account movement through the site, as noted by you in your site research and timeline. You will need to test how the confined space can accommodate the range of activities over a 24hr period. You are required to consider materiality from the beginning on - look back at your Close Survey and Poché model outputs, and consider how your new design intervention might integrate with, or rub against the existing site you have surveyed as a group.
testing //development on poche
To further develop the poche , many experiments were carried out on the model to test how it could be changed to reveal its spatial qualities. Firstly heat from light was tested on the poche model to see what would happen. The wax softened slightly but didn't change in appearance.
Imitating patterns from previosu briefs using wax sticks. The result was that it was too weak to create an entire structure
A metal cylinder heated in the oven was then used to cut through the model to see the affects of it. The result was a clean cut circle with smooth edges. The circle shape was used to replicate Louis Kahns circular windows. The idea of cutting shapes through wax was then further explored.
testing //development on poche
Burning a mini model to see how burnt paper affects the material similar to Peter Zumthors ChapelÂ
Burning a hole through a section of the model over water to see how direct heat affects the material. The result was burnt staining as well as burnt wax that had fallen in the water which had created a materiality of its own.
Underside of melted wax in water
initial ideas//sketches
initial ideas//sketches
concept development models After the experimentation stage, further exploration into cutting and melting with heat and fire was explored. The opposite of fire: water was also used in the developments to see the affects of it on the melting wax.
Wax mould made using a sushi mat vacuum formed on PVC to speed up process of making sticks
concept development models
Hot wax in a weighted vessel is dropped into warm water to create these structures.
concept development models
Hand made metal mould in the shape of pattern heated and then cut through wax structure
Model showing shadows made by cut out shapes
concept development models
Metal mould in the shape of pattern heated and then cut through wax structure placed in a bowl of water
The wax that melted from the heat of the mould cooled in the water and created flat surfaces stuck on the structure
concept development models
Funnel shaped holes that enlarged further down as the heat melted it were created. The idea of using direct heat from fire formed from the existing users in the site: the smokers. Using direct heat was to mimic the smokers and the heat from a cigarette “burning” through the structure to create “chimneys”.
Melting holes through the structure over a long period of time in a cold environment to see the effect of heat . The result was tunnel like holes and wax drips that solidified as they dripped.
concept development models
The funnel shape came from the concept of funneling smoke from the smokers through chimneys. The idea was that the melting wax of the structure would flow around the paper funnels and create a space within a space.
The result was that the wax melted into small ‘platforms’ over the funneled structure. Whilst still dripping down it to create an enclosure
Funnels made from paper are placed over lit candles to melt the structure as before but control where the wax falls to create new structures and forms.
development sketches
Quick sketches exploring the idea of funnels and chimneys whilst incorporating the ledges as spaces
final concept model The final concept model combines the processes during the development stage to create a funnel shaped space. The wax that cooled in the water previously have been incorporated to create ledges or platforms. The structure has a "melted" like form to represent the smokers melting the structure. The concept model was experiemental and organic with no plan on how the wax would form however the result was a success as surprising spaces formed. The structure not only represents a funnel but also looks like a mountain which links with Kodo as part of their exercise regime was climbing up a mountain.  The positives of this model are the "ledges" that surround the sturcture at different levels as this is an interesting way to create spaces that are attached to another space. The negatives of this model are the lack of shape and geomtry in the model. The melting wax is very organic and moves away from the original idea of sticks being weaved to create a structure. The gaps in the bottom of the model are interesting as they allow light to enter in alternative ways as well as create interesting viewing spaces.
concept model development To further develop this model, the poche was 3D scanned and then manipulated in 3D CAD software. The design was changed in various ways, more of the models were added to create new spaces as well as changing the orientation of the model to see how the space inside the model can be used in a different way. The model was manipulated in Meshmixer and changed to 'mold' around the site. Parts of the model were curved and smoothed where people or vehicles had passed through. Mistakes that occured in the software gave the idea of paths being cut through instead of smoothed around. The ledges or platforms from the concept model were lengthed to create walkways around the site to allow people to "climb" up the structure. The structure was 3D printed out of resin.
17
activities diagram NEED SHELTER
You will produce a hand-drawn diagram that visually conveys the key activities you are designing for, alongside a range of spatial constraints. You need to elaborate on the three key activities already identified in your timeline (some of you might want to change one of these to focus more on the performer, for example if you have chosen exhibitions in the Museum of London as one of the key moments). Note down what the key activities are in detail, and determine any supporting equipment and props. What are the spatial constraints, i.e. what spaces can accommodate the activities you are designing for? You will then sketch out a range of diagrams to consider how these activities relate to each other, and how they relate to the site. This needs to take account of users of the space other than your performer, for example members of the public walking through. Determine which of these accommodates the spatial programme (activities and associated equipment) most successfully, and draw this neatly in illustrator, including annotation.
SMOKE STANDING UP LARGE SPACE NEEDED
IN GROUPS AND ALONE
LIGHTING
DRUMMING
10-15 MINUTE BREAK
KODO REHEARSALS
CHOSEN ACTIVITIES
SMOKERS
KODO EXERCISE REGIME
5K RUNNING TAISO//STRETCHING
CLIMBING MOUNTAINTS
developing activities diagram
Diagrams exploring spatial arrangements
plan diagram
TAISO
SMOKING PUBLIC
STORAGE
VIEWS ONTO GROUND FLOOR
OFFICE WORKERS
NIGHT REHEARSALS
CLIMBING
BUSY ROAD IN CONSTANT USE
VIEWS FROM MAIN ROAD
section diagram
TAISO
PUBLIC
VIEWS ONTO GROUND FLOOR VIEWS ONTO GROUND FLOOR
STORAGE
SMOKING
TAISO
CLIMBING
NIGHT REHEARSALS
the thinking hand Based on the Concept Model and the Activities Diagram, you will start to design - to scale and through hand-drawn plans and sections - an intervention into your site that accommodates your spatial programme (activities and associated equipment). You will test through drawing how these manifest spatially and materially. You will produce a range of sketch plans and sections (to scale), that take into account materiality and inhabitation (activity). This process will require many iterations, starting with rough sketching and redrawing using tracing paper to gradually refine the designs for your schemes.
further development Exploring different spatial compoisitions and looking at how shapes can cut through the site and model.
Plans and sections exploring the idea of shapes cutting through the structure to create view points
Looking at how the existing viewpoints can be used to see the performer and make the public spectators
Testing the idea of glass pathways cutting through the structure to create a barrier between performer and audience
Model showing glass viewpoints at the intersections between the site and model. This "showcases" the performers literally and gives the public something to look at whilst they walk through
further development
Plans and sections showing the idea of funneling and inhabitation.
development sketches
Sketches looking at alcoves in the cone structure to create quiet spaces for taiso whilst still advertising Kodo to the public. The arrangment of the glass tubes have been changed into smaller tubes to create a random pattern to mimic the original poche
development sketches Structure of the cone is made from triangle panels aranged in a cone shape and attached with mullions.The glass tubes are held onto the glass cone by clamps which have an extension that has a climbing peg on the end. Inside each glass tube there will be an LED lights to mimic the glow of the original wax poche and this will also provide light in the dark site.
final visuals Left: Final design proposal showing glass cones which cut out pathways and alcoves for exercising. Right: Steel mesh covers floor to create an underground storage for the equipment. The glass tubes lining the walls represent the wax structure melting down the sides just as it did when the metal cutter was used to cut through the wax.
Kodo climbing the structure on pegs whilst a spectator watches their daily exercise.
: Kodo performer doing taiso is a quiet space above the ground.
upper plan
Scale: 1:50
lower plan
Scale: 1:50
elevation
Scale: 1:50
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I am a magazine Group project looking at magazines and creating something based on the magazines given. Our project is inspired by Harpers Bazaar magazine, is an animation of a spoof 60's makeup advert based on L'Erin cosmetics. It is inside the form of an oversized television. It features cut out faces of famous 60's models that "move" parts of their body in a jaunty manner to mimic the Monty Python style animation. The animation itself is projected on the television to represent an advert being played. It is made using cut outs pf faces and original L'Erin cosmetics and produced using stop frame animation. The television is made from MDF and painted to look like a 1960's television.
Screenshots of the animation