Degree piece; Wooden clock Fine art Degree show piece prototype; Mechanical clear acrylic spider.
For my fine art degree show exhibition in 2004 Simon produced Spiders. This instillation sees two clear acrylic mechanical spiders clawing against the gallery floor. The sculpture is activated on entry into the space as the rumble of the huge driving electric motor and vibration of high power lighting spring to life; it was simultaneously ethereal and horrific. Previous kinetic sculptures included a wooden bike, fridge and clock. Mechanical hats, bikes with wings, dissected (but still functioning) CD players and much more.
ND Show piece; Wooden bike and younger me.
A small sample of the works produced by EMH Motors (Co-owned) and other subsidiaries, a virtual development company based in Second Life.
After graduation in 2004 Simon became involved with the virtual development company, EMH Group. In 2007 the subsidiary that He co-owned, EMH Motors, were the world's largest virtual vehicle makers, producing toys that consist of 3D models with physics simulation (think computer games). A huge range of virtual solutions were developed for the business; copyright protection systems, business centres, clubs, houses and even a combat simulator. In 2008 when markets suffered and copyright infringement became uncontrollable, the business became financially unproductive; it seemed the opportune moment to retrain in architecture.
How do you get through a crowded city centre with minimum fuss?
Be the envy of all those people you would call your friends if only you could socialise, wear a spiky colourful thing; Effecting crowd dynamics much like mosses at the red sea, it also prevents shops prising your hard earned cash from your hands and protects your identity converting you into a big spiky colourful ghost, thing.
This proposal was developed as the first solo project on the architecture degree. The brief; design a small transportable shelter to protect from an unspecified influence, it must be deconstructable in order to fit in the studio.
LDF Kiosk The second solo project was to design a ‘art kiosk’ in a run down part of town. Simon chose Plymouth City Council’s ‘Millbay and Stonehouse area action plan’ as a catalyst. The final proposal takes the form of a forum for the city’s development.
Touching the ground lightly
The Eco Hall project was a simulated live project for ‘The Centre for Contemporary Arts in the Natural World’ and the Forestry Commission at Haldon Forest Park near Exeter. The brief asks for a shelter for symposium audience, group activities and the general public. Later this proposal was cho-
Temporary textile walls
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sen for an exhibition at the park.
Section 2
Section 1
VERTICLE TEAM PROJECT The brief for this one week group mini project was to develop a concept for a migratory population in a strip of the city. The context is a huge immigrant popula-
Community
tion post global warming, our strip was all water, and the gateway to the rest of
Leisure
the mega city.
Industry
Commerce
Transport
Precedents;
Monolith by Jean Nouvel, http://www.darkroastedblend.com/2009/03/biggest-diamond-heist-in-history.html
Sky lanterns http://www.flickr.com/photos/ dans180/3294461726/
( Reproduction not to scale)
Sited in a heavily industrialised area of Plymouth the 1st years final project’s site has very little access. The scheme utilises Simon’s own childhood memories of farms and orchards. All access enters on the second floor leading to walks across the orchard canopy and
http://kashlaty.ru/news/2009-07-18-39
through the dark fermentation hall with it’s looming shapes; the experience emulates a maze of sights, sounds and different spaces. The design is a fantasy land, nostalgic and progressive, always suggesting a new corner to explore and a new route to take. The entire proposal focuses on the sheltered orchard area a safe place for play and relaxing, it is park, cider garden and events location. The main structure is timber clad in zinc, the flood defences and orchard walls are clad gabions which are seeded with grass decking.
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Lift access from cliff
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Lobby & comns core
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General store (private)
Raised walkway across
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Restaurant
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Workshop (private)
waste ground
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Kitchen (private)
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Processing (semi pri-
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Staff room (private)
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Bedroom (private)
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Fermentation
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Staff bathroom & toilet
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Bar
(private)
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Bar store
Orchard walkway
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Personal terrace
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Stage
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Jetty
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Oil storage
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Office (private)
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Visitor toilets
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Warehouse
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Lockers & corridor
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The Orchard
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(private)
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Roof access (private)
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Loading bay (private)
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Visitor process viewing
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Fermentation walkway
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Year Two saw the legal use of computers on the degree program. The first mini project was group research and supporting film, ours was called Peninsula. This to lead into a longer solo project that was to produce vessels on the site of a current boatyard in Stonehouse, Plymouth.
Recommended listening; Panoramic by Atticus Ross. Click to listen
[...]Burd mixed landfill dirt with yeast and tap water, then added ground plastic and let it stew. The plastic indeed decomposed more quickly than it would in nature; after experimenting with different temperatures and configurations, Burd isolated the microbial munchers. One came from the bacterial genus Pseudomonas, and the other from the genus Sphingomonas. Burd says this should be easy on an industrial scale: all that’s needed is a fermenter, a growth medium and plastic, and the bacteria themselves provide most of the energy by producing heat as they eat. The only waste is water and a bit of carbon dioxide. http://www.wired.com/wiredscience/2008/05/teendecomposes/
Opposition to un-Heimlich ARCHO214– BA (Hons) Architecture -Y2 - University of Plymouth Module leader—Adam Cowley-Evens Simon Shillito 774343 12-01-2011
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Prologue Martin Heidegger’s work has helped to form the acceptance of a different kind of academic thinking; one based on instinct and feelings of dwelling. This essay is written from a phenomenological standpoint. Not as an understanding of material and texture but as a poetic reflection.
…being in the cosmopolis (INTRO) The philosopher Martin Heidegger paints a picture of dwelling1 and the domus. As a romantic vision used by the Nazi party, Neil Leach supposes that Heidegger’s domus could be a cause of the monstrosity perpetrated during the Second World War. In the end of the essay by Leach titled ‘the dark side of domus’ is a proposition for an architectural mode for the cosmopolis; the solution to the Nazi ideal is offered as a new architectural style for a city. This model is based on the idea that in a cosmopolitan society all are accepted thereby mitigating the rage inherent in the domus and Nazi nationalism. “‘City life’ — the life of the cosmopolis — offers an alternative to the model of the domus. “2 But it is just that, a model of the city and not the home. Where does the domus sit within the contemporary cosmopolis? How does the individual identify oneself within the all?
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Water colour + coloured pencil on paper
Gouache, wax, charcoal +chalk on brown paper
Indian ink on cartridge paper
Acrylic + ball point pen on paper
pencil on paper
pencil on paper
Male Nude, charcoal on paper.
Sci-Fi engine. Digital cartoon screen play development, ‘Awakening’, Commission for EMH Group
Colour woman, acrylic & charcoal on paper.
Rock study; Pencil on paper digitally edited.
Clad towers, Oil and acrylic on Canvas
77-87 Houndiscombe Road 1:20 Section (On A0) 1 2 3 4 5 6 7
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Timber composite cladding module sealed with synthetic resin
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Nylon adjustable cladding mount
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Damp proof membrane
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Breather membrane
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21mm Structural marine ply
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Lightweight timber frame
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PVCu Gutter with filter gauze
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Mild Steel I beam
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21mm Local white limestone laminated against 21mm marine ply
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11 Internal finish; 15mm plasterboard & 2mm plaster skim 12 Triple glazed argon window in FSC seasoned European oak frame 13 FSC European oak hand rail Click to view
14 FSC European oak flooring 15 Services / sound insulation gap 16 FSC European oak kitchen work top 17 Hermetic seal level 18 Cold bridge / sound transmittance break: Rubberised bushel 19 Solid concrete block plant wall 20 Earth anchor foundations 21 Retaining concrete block wall
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Parker VC By The team, Capita Symonds Architecture, Plymouth. Status; on site Project Design & plan — Callum, Edd, Mike A, Mike S, Rob, Simon & Everyone else — Thank you Poster Design—Simon Shillito Model—Simon Shillito Photo Montages _ Rob Statue options—Simon Shillito Statue Sketchup—Simon Shillito Bronze (Reality & Sketchup) soldiers — unknown Granit Blocks — Found This Portfolio is unaffiliated with Help for Heroes, Capita Symonds or HMS Drake. Information is not representative of the final outcome.
3 Visualisations, Karl Duvall, Shove Media
1:200 Model, Simon Shillito
Project Design & plan, The team @ Capita Symonds Architecture, Plymouth.
Poster Design Simon Shillito
Other works with Capita Symonds: H4H Presentation Portal, initial and 2nd proposal Community project, North Plymouth, initial Proposal Revit BIM Modelling technician Model refurbishment (physical) Golf champion (cheat)
Visualisation, Sketchup—Rob Texture & lighting—Simon Shillito
BETA The second unit in a series of developments, a chemical compound.
My particular field of interest is of phenomenology, evolution and emergence; tools for the correction of the human condition and society or mealy irrelevant ideas born of naivety and childish optimism? Either way, architecture offers us a unique platform to experiment with these notions as immersive creation. The built environment alters behaviour and the psyche, but, can it aid us in doing so consciously and morally?
An architect is engineer and artist; we philosophise but always must work within the systems at large. As artists we compose engineered technological elements to create a symphony that is otherwise intangible. As engineer we tinker, construct a physical thing, improve upon it, and make it more efficient in its given role. As philosopher we decide upon this role, attempt to define it; make it work within our social constructs. As part of the larger whole we work within our conglomerate of working teams, economic and cultural restraints, making the product perform with what resources we have and perhaps producing new resources as the task demands.
In this process, style, both architecturally and graphically seems to be something that evolves alongside function in each and every application. I would love to produce a graphic that carries the viewer through space and time, as emotive construct, to an experience and understanding of place. Likewise, I dream of producing architecture that is infinite, variable, organic and fluid, plastic and transient, that hints at so much more; something to be read from multiple perspectives. But, always I negotiate back to the same questions; do we need it and will it help? Is this just a fashion? Is this OK? Is it responsible?
We fall upon a balancing act, on one side architectural convention and professionalism, on the other individuality, of the dweller and self, architect and a marketable commodity or ‘maker’.
It seems obvious that our time is a turning point; I wish to make the most of it.
Fingers crossed; our journey is just beginning.
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‘Touched’ Essay, Alver Aalto & hapticity.
‘The Phoenix unit’ Competition entry, Response to the 2010 Urban SOS competition.