M.Arch year 1 term 1; ARC761 Design Report by Joel Wallace Erabu

AUB ISLAND ARC761 DESIGN REPORT Liam Bailey • Jack Cooper • Figan Dastan • Wallace Erabu Sean Forryan • Anna Freiesleben • Robert Grace • James Kilhams • Zofia Kracinova Emily Riddiough • Amy Speed • Elizaveta Yakhontova

CONTENTS

Introduction

Strategy

Appendix

04 05

50 51 53 54 55

Project background Group co-ordination

v Design Development 06 08 10 47 48

Collaboration Design concept Design process Public engagement Final design

Practicalities of the brief Travel organisation Social media prescence Calculating cost Workshop set up plan

Workshop: AUB Island 56 62 68 72

Workshop timelines Final outcomes & future designs Movement analysis Luggage tag analysis

This document contains Assessment Component LO1: Design Report.

Bibliography

Introduction | ARC761

INTRODUCTION

Project background

‘Island’ – The British Pavilion

Project brief

Unit ARC761 ‘Body: Architectural Interventions’ focuses on collaboration and making, promoting engagement with social, political and creative issues. The requirement of the unit is to work with a community and across the arts to connect with the public in a performative process, making a spatial intervention in real time and place. A key focus is the body’s interaction with its spatial and material context, as well as the documentation of events.

For the 2018 Venice Architecture Biennale, ‘Island’ was selected as the winning proposal for the British Pavilion. Caruso St John Architects and artist Marcus Taylor responded to the given theme of ‘Freespace’, by constructing a public gathering space on the roof of the Pavilion. This involved covering the building with scaffolding, to support an elevated piazza for people to meet and discuss amongst the tree-tops, with views out to the open sky and across the lagoon.

Collaborating with Sian Bowen and MA Fine Art to create a workshop within the British Pavilion.

This unit reflects upon the theoretical and historical role of the arts via cross disciplinary thinking and the mythological place of building elements, examining local and wider contexts. The unit also explores the role of the architect in society as a professional and in creative art practice, addressing environmental, regulatory and health and safety issues, which are to be considered and documented as part of the making. 4

Throughout the Biennale, the British Pavilion hosted a programme of events, performances, installations and debates which responded to the theme of Freespace and ideas raised by Island. With the exception of these performances, the building was left empty, abandoned and untouched. It is within this context that the AUB Island project was hosted within the British Pavilion.

• Provide a ‘frame’ for the fine artists’ work • Incorporate work of BA Yr3 & MArch 2 • Encourage public interaction & engagement • Allow mutability of the intervention • Acquire & transport materials to Venice • Erect & dismantle structure within 1 hour

Introduction | ARC761 INDIVIDUAL AVAILABILITY LB JC FD

LIAM

JACK

FIGAN

WALLACE

WE SF AF RG

SEAN

ANNA

ROB

JAMES

JK ZK ER AS LY

ZOFIA

EMILY

AMY

LIZ

MON

TUE

WED

THUR

Individual roles

Co-ordinating work

The group began by allocating the four roles of project manager (Emily, Sean), recorder (Anna, Wallace, Zofia, Figan, Liz), travel and costing (Amy, Rob) and technology / health and safety (Jack, Liam, James). Each individual submitted a written description of what they believed their role to be, following co-ordination among the role groups to ensure that all bases were covered and nothing would be unnecessarily duplicated.

In order to work most efficiently, the group visualised the availability of each person in the above timetable. For any days in which people could not come into the studio, the equivalent work time was expected to be made up in the evenings and weekends. This was a useful way to manage expectations and understand the limits of each group member. However, this arrangement was sometimes not adhered to.

FRI

EVENINGS & WEEKENDS

Design Development | ARC761

DESIGN DEVELOPMENT

Collaboration The successful collaboration between groups was a vital element of this project. Research on the British Council and communication with its fellows ensured that our design was in keeping with the general concept of ‘Island’, and played a key part in the logistics of transporting and erecting the structure. Collaboration with the MA Fine Artists, BA Architecture third year and MArch 2 students helped form our design concept. The specifics of these meetings are detailed as follows. We met with Professor of Drawing Sian Bowen to understand her expectations for the Biennale workshop (fig. 1). Sian requested a simple frame, with clever use of materials to manipulate light, and interesting spaces that would allow her to reposition the artwork and interact differently with the frame throughout the day. The MArch 2 students had previously worked with Sian; we next met with them to understand this work and 6

Design Development their thesis projects (fig. 2). Themes included adaptable frames that could be folded and transported; use of traditional, raw materials; and structures that form different enclosures to alter the atmosphere of the existing spaces. In addition to the MArch 2 students, we worked alongside three BA students to ensure their individual aspirations for the workshop could be achieved (fig. 3). Ben Palmer was interested in sound recording and aimed to record the differences between contrasting spaces on the day of the workshop; Adam Stanford looked into bookbinding and aimed to handcraft his own account of the workshop which would demonstrate the public’s interaction; and Alex Weston aimed to create a device which would isolate live moments within the workshop, then document the day through a series of sketches of the movement and interaction of people with the spaces.

Following our meetings with the collaborative groups, we began the design by first considering the themes of the project. These are set out on the page opposite: ‘Freespace’, the overall theme of the 2018 Venice Biennale; ‘Island’, the theme of the British Pavilion; and ‘Mutability’, the theme that emerged from the collaboration with Professor Sian Bowen and the MA Fine Artists. The group then brainstormed which words came to mind in relation to the themes, to provide a focus in developing the design. After individually exploring ideas, the group came together to decide upon a general design concept. Due to the pressed nature of the project, we continued development through the design of each room and the overall frame, rather than changing the concept itself. This development is detailed on the following pages.

Design Development | ARC761

British Council

MA Fine Art

MArch 1

MArch 2

BA Year 3

FREESPACE

ISLAND

MUTABILITY

Dreamspace

BREXIT

Ownership

Stepping on/off

Poem: Changing nature of the world Embrace change

Fluidity

Boundary

Footprints

Thresholds

Simplicity

Definitive

Psychology of Spaces

Refuge

Spatial Hierarchy

Abandonment Journey Experience

Layering: Adding to and removing from the installation Workshop I: Folding and unfolding Transportation Vibration / movement Workshop II: Dependency Interchangability of drawings

Design Development | ARC761

“Island is a project that seeks to open up a discussion about how Britain, Venice and places further afield have historically reacted to [changes], and how we are confronting them today.” – Adam Caruso

Design Concept 8

Design Development | ARC761

Our proposal interprets the current installation “Island” as a “tabula rasa”; a blank slate, providing us with a platform to consider how we can build a better future. In response to this idea, the intervention consists of five different spaces for thinking and one for discussion. The five rooms surrounding the discussion room comprise spaces which encourage visitors to slow down and reflect in different ways. Each of the spaces is without an explicit agenda – the spaces themselves promote the generation of ideas, rather than represent them. Here, visitors are afforded the opportunity to escape provocative newsfeeds, propaganda, cultural and social agendas, or even the rest of the Biennale itself. The journey culminates in the discussion room, where people can voice their opinions and add to the noise that currently surrounds Britain, with its issues of political polarisation, Brexit, the Windrush scandal and Grenfell, to name a few. The five surrounding spaces encourage visitors to mull over their thoughts and introspectively think and reflect, in the hope that once they return to the everyday noise of the discussion room, they have gained a deeper clarity of thought, therefore allowing them to be more adept at promoting and discussing their ideas.

Design Development | ARC761

Open Interact

Engage

Consider

Discuss

Question

Invite

Britain Answer

Design Process: Room 0 Initial Concept Discussion

Mile of String, Marcel Duchamp, 1942 Interactivity & initiating participation

As visitors enter the British Pavilion, the first room they are faced with is the discussion room. The central piece is a simple cube structure, with string woven in various directions between the timber. Attached to the string are luggage tags for people to write their response to the themes of Britain, Brexit, and any other thoughts they may have. This visual prompt begins the visitors’ journey, before they continue to the reflection rooms.

By weaving string through the entirety of the gallery, Duchamp altered occupants’ movement and interaction with the artworks on display, forcing a close relationship with the string. Duchamp brought children into the gallery to play games between the string, thus fostering a more relaxed atmosphere in the hope of encouraging further interaction with the space.

The experience finishes in the central brain room, where visitors should by now have more developed thoughts on the themes. They then write their response on the tags and read responses from other people. We hope to see responses from a variety of backgrounds and nationalities. 10

The collaboration of fine art and spatial intervention makes this piece highly relevant to our workshop. The string’s ability to physically connect work to the surrounding space, while also encouraging participation, is a simple yet effective intervention. Due to the interactive nature of our workshop, creating an accessible structure using similar concepts would create the type of engaging environment we require.

Design Development | ARC761

Design Development

Physical Model

1 – The initial idea was for the discussion room to be at the centre of the building, with a simple black frame linking through all other rooms.

3 – We came up with six questions to write onto the luggage tags. Further information about the questions can be found on page 47.

2 – Interaction with the public was planned to occur through a series of questions, relating to the themes of Britain and Brexit.

4 – A second option of a deconstructed ‘brain’ was considered, whereby the fine artists would sit behind three screens of the same design.

Creating a scale model allowed us to understand the proportions of the structure and led us to consider the attachment of the string.

Design Development | ARC761

Size relative to room

Human scale SketchUp Model Creating the design in SketchUp allowed us to view the structure within the room. This gave us a better understanding of the scale.

Design Development | ARC761

Testing 1:1 1 – Following the design of the joints (see Technology Report), we began constructing and testing the ‘brain’ structure at scale 1:1. 2 – Bringing all sides together was the first time we could appreciate the size of the structure.

Complete Construction 3 – We practiced weaving the string through the structure and how to cover the entire area. 4 – The luggage tags were attached to the string in different locations in an even spread.

Design Development | ARC761

Adding string

Meeting space

Central room

Woven

Mile of String by Duchamp

Public interaction

Writing questions

Tag questions

Design Process Summary: Room 0 14

Concept Model 1

Concept Model 2

Design Development | ARC761

Final Design: Room 0 15

Design Development | ARC761

Dreamike Light

Positive

Open

Soften

Gentle

Airy

Relaxing Optimism

Design Process: Room 1

Initial Concept Softened space

Lienaris, Sabine Reckewell, 2011 Calming form

Room 1 aims to create a calming atmosphere that invites the public to rest. The design invokes a certain stillness to help people clarify their thoughts. Following the initial introduction to the workshop and the theme of Brexit, the public will enter this first reflection room with many ideas, perhaps in a restless state of dubiety. We hope to clarify these thoughts by installing a sense of calm and optimism within the visitors.

Sabine Reckewell uses black string to represent the unraveling of textile, creating organic spaces within the defined parameters of the room. Reckewell carefully places varying lengths of string at different distances to create architectural forms; also playing with tension to create different illusions. These forms create a sense of calm when juxtaposed with the geometric walls â&#x20AC;&#x201C; something we are trying to achieve in Room 1.

To achieve this, a plain white fabric delicately drapes over a simple frame. This is positioned against one wall only, to subtly change the geometry of the room and soften the space. Freely moveable stools are situated around the room for people to sit wherever they choose. The orangeyellow artificial light glows onto the natural timber floor, together creating a warm feel to the space.

The practicalities of using this medium would be challenging, as we cannot fix onto the walls of the British Pavillion and only have one hour to assemble the whole installation. We will therefore need to consider how we can create a sense of calm using a freestanding structure and some form of fabric that can be fixed to this structure quickly.

Design Development | ARC761

Design Development

1 – Curtain effect montage to invoke calmness.

3 – Light experiment using a string of LED lights. This was also less effective than we hoped.

2 – Light experiment using a phone behind fabric. This was less effective than we hoped.

Physical Model

4 – Light experiment using a laptop beside the LED lights. All light experiments were uneffective, so we decided to use the draped material only.

Design Development | ARC761

Scale relative to stools

Draped material SketchUp Model Creating the design in SketchUp allowed us to view the structure within the room. This gave us a better understanding of the scale.

Design Development | ARC761

Testing 1:1

Complete Construction

1 – Constructing the frame to hold the material.

3 – Attaching the material to the frame.

2 – Unfolding the material in preparation for fixing.

4 – Draping the material in different ways.

Design Development | ARC761

Light test: Phone

Canopy sketch

Dreamspace (MArch 2)

Frame test

Concept Model

Light test: LED

Material test

Curtain idea

Light test: Laptop

Design Process Summary: Room 1 20

Fixing to frame

Draped fabric

Design Development | ARC761

Final Design: Room 1 21

Design Development | ARC761

Empathy Dreamlike

Projection

Visualise

Cocoon

Immersive

Events

Distortion Shock & awe

Design Process: Room 2 Initial Concept Visual Representation

Double Blind, Robert Irwin, 2013 Contrast & layering of light

In this room, we first considered encouraging reflection by visually representing recent events in British history. We felt that using distorted images to hint at controversial topics would help provoke reflection on the theme of Brexit and the state of Britain today. In terms of the frame design and the positioning of the body, we were reminded of the MArch 2 ‘Dreamspace’ project, which formed an immersive cocoon.

Robert Irwin uses transparent material to form dense and intriguing spaces. The contrast between the black and white fabric, and how its presence varies as one is viewed through the other, suggests an interesting reliance between the two colours. Although the two are segregated, there isn’t a point within the space where one can be viewed without the other.

Our initial idea used a cocoon type space in which people would lie down and look up at a projected video on the fabricated ceiling. However, this developed as we considered the movement of people through the British Pavilion and the practicalities of the projector. The frame went from a cocoon, to a screen to a tunnel. Dreamspace project > 22

Using the idea of contrasting, enclosed spaces to suggest greater themes is something we hope to include within the reflection rooms. The soft impression of the material and its ability to connect to other points within the room would allow us to link the frame throughout the different spaces, and form architecturally varied spaces through the application of material in different ways. .

Design Development | ARC761

Design Development

Physical Model

1 – The design went from being a cocoon, to a screen, to a tunnel. This allowed people to pass through who wouldn’t otherwise take the time to stop, while still being absorbed in the video.

3 – Experimentation with colour revealed the effectiveness of vibrant colour over black and darkness. This understanding enabled us to refine our video footage to be most effective.

2 – Experimentation with materials, including a bedsheet, tracing paper and detail paper, revealed that detail paper was the only one which allowed the projection to pass through. We liked seeing the reverse image on the other side and included this concept.

4 – We liked the way in which the projection spilled over the edge of the frame and created interesting shards of light in different shapes.

Design Development | ARC761

Connection to frame

Narrow pathway SketchUp Model Creating the design in SketchUp allowed us to view the structure within the room. This gave us a better understanding of the scale.

Design Development | ARC761

Testing 1:1 1 – Constructing frame and adding detail paper. 2 – Erecting frame in preparation for the projector.

3 – After seeing the end result with vertical detail paper only, we tried weaving horizontal elements through too.

Complete Construction

4 – Erected screen using woven detail paper.

Design Development | ARC761

Projection test

Screen sketch

Dreamspace (MArch 2)

Construction Test

Concept Model

Framing

Woven screen

Tunnel sketch

Testing materials

Design Process Summary: Room 2 26

Video 1: Destruction

Video 2: Construction

Design Development | ARC761

Final Design: Room 2 27

Design Development | ARC761

Boundaries Workshop

Freespace

Floorscape

Evolve

Collaboration

Island

Mutability Okoshi-ezu

Design Process: Room 3

Initial Concept Floorscape

Breathing Room, Anthony Gormley, 2010 Defined Space

The original intention of Room 3 was to house the fine art work shop and art installation, so the frame was kept very simple in here creating freespace to allow for this to happen. The form of the door was extrapolated through the room twice using the white frame, which had the intention of pulling people straight through the space.

The installation ‘hovers between being architecture and being an image of architecture’, as the simple frame deliniates spaces through which visitors can interact. These spaces allow free movement around and within them, which results in allowing the viewer to become a selfobserving figure in a disorientating ground.

However, white tape was planned to be used on the floor to contradict this simple direction of the frame, creating new boundaries using the floorscape which were to be populated with the fine art drawings, these would therefore create mini islands and boundaries within the space, forcing people to deviate from the simple path created by the frame to meander through the fine art installation and workshop before continuing on to the next room.

These ideas can be applied to the design of Room 3, as the frame needs to pull people through the space, whilst not overpowering the fine artists’ work. Unlike similar works, Gormley’s frame also carefully extends across the floor, delineating these spaces in plan. This can be applied to our work as the Okoshi-Ezu art is best displayed on the floor, so by mimicking this we can provide opportunities for the art and architecture to combine and form one cohesive exhibition.

Design Development | ARC761

Design Development 1 – Meeting Sian Bowen and the fine artists was an important part of the design process, as it was the first look at the work that would be installed in the British Pavilion alongside ours.

Physical Model 3 – To house the artwork, the frame was designed to be minimal, creating freespace to allow for the workshops to operate whilst still connecting with the frames in Rooms 2 and 4.

2 – Here we could see how the drawings occupy space on the floor. It was useful to see the arragement of drawings combined together, but also the size and format of the individual drawings that would be moved around the pavilion throughout the course of the day. 29

Design Development | ARC761

Relationship with art

Structure of frame SketchUp Model Creating the design in SketchUp allowed us to view the structure within the room. This gave us a better understanding of the scale.

Design Development | ARC761

Testing 1:1 Practicing the construction allowed a better understanding of the design. Due to the thin nature of the frame, we found it was unstable, so added supports at either end.

Design Development | ARC761

Construction test

Wall to floor transition

Discussion with fine artists

Construction test

Breathing Room by Anthony Gormley

Refined concept Moveable artwork

Okoshi-ezu

Video 2: Construction

Construction test

Design Process Summary: Room 3 32

Concept Model

Design Development | ARC761

Final Design: Room 3 33

Design Development | ARC761

Pathways Confuse

Journey

Distort

Spaces

Experience

Link

Boundaries Doorways

Design Process: Room 4 Initial Concept Distortion

White Walls, Oscar Tuazon, 2014 Spatial reconfiguration

This room aimed to distort people’s journey by creating multiple options to walk through. This sense of confusion was hoped to invoke more thoughts among the public as they work out the correct path, thus relating to the theme of Brexit and the future of Britain. The design underwent further refinement in order to slim down the frame and the luggage restraints, as the original concept used many lengths of timber and therefore considerably added to the weight.

Oscar Tuazon’s interests lie in the process of constructing spaces by hand, enjoying the unpredictability of the evolution of a project. This temporary installation achieves distinct spatial qualities through its minimal frame design. The strong geometry alters the threshold of each space, ultimately changing the whole impression of the gallery, leading viewers to question and reconsider the space they occupy. .

In the final concept, the structure is laid out like an open door, offset from the building’s door frame to disturb the natural path visitors take as they enter the room. The door forms two thresholds which people can choose to walk through, either deeper into the room or towards the next. We are keen to see which route people will take. 34

We hope to use these practical and effective solutions for altering the perceptions of a space through the minimal use of structural frames. A single, continuous frame will flow through the reflection spaces, altering the proportions and points of access within each space. This approach is designed to create similar feelings of redirection and contemplation.

Design Development | ARC761

Design Development

Physical Model

1 – Framed journey disorting the path ahead.

3 – Stripped back version with 2 path choices.

2 – Filled frame similarly distorting the path, with fabric fixed between the timber.

4 – Distorted journey using hung material for further confusion of the public.

Design Development | ARC761

Timber on floor

Leading through doorway SketchUp Model Creating the design in SketchUp allowed us to view the structure within the room. This gave us a better understanding of the scale.

Design Development | ARC761

Refined Concept

Refined Model

Single frame offset from the door frame, to distort peopleâ&#x20AC;&#x2122;s journey as they enter the room.

Design Development | ARC761

Framed journey

White Walls by Oscar Tuazon

Refined concept

Frame sketch

Framed journey

Design Process Summary: Room 4 38

Concept model

Refined concept model

Design Development | ARC761

Final Design: Room 4 39

Design Development | ARC761

Personal Deep

Think

Wonder

Reflect

Meditate

Eyes

Soul Introspective

Design Process: Room 5 Initial Concept Physical Reflection

WeltenLine, Alicja Kwade, 2017 Distortion & alternative perceptions

The final ‘reflection space’ is a physical reflection in the form of a simple mirror. Visitors enter the room to be faced with their mirror image, to encourage a final moment of introspective thought. The simple frame is a continuous link from the previous room, rising from the floor into a vertical plane.

Alicja Kwade cleverly positions a frame containing mirrored panels to provoke new ways of seeing objects. The configuration of the structure and positioning of the objects creates a fluid piece that continues to interact with the viewer as they construct their own path through the frame. The illusion forces one to reconsider the objects, closely studying their materiality and form to detect reflection from reality. This project increases the understanding of the objects presented by requiring a more intent focus. .

Room 5’s design intention and focus was to create a physical reflection, early discussions revolved around creating a final space where people could stand, sit, observe and reflect on there journey and gather there thoughts, which could later be discussed within the central room. The design was to be as simple as possible, provide plenty of room for circulation to occur and allow people to feel comfortable within the space. The central position was key. 40

We hope to use a similar effect to focus occupants within the workshop, encouraging people to reconsider themselves through being presented with distortions of their own reflection. The spatial experience will instead encourage an introspective look at the workshop participants.

Design Development | ARC761

Testing 1:1

Physical Model

Experimenting with the mirror material to check levels of distortion vs. clear reflection.

Design Development | ARC761

Size relative to room

Human scale SketchUp Model Creating the design in SketchUp allowed us to view the structure within the room. This gave us a better understanding of the scale.

Design Development | ARC761

Refined Concept

Refined Model

The design was refined from a series of mirrors to one single mirror, to save on materials and give a stronger message of introspection.

Design Development | ARC761

Construction test

Concept sketch

White Walls by Oscar Tuazon

Frame sketch

Construction test

Refined concept

Concept model

Construction test

Design Process Summary: Room 5 44

Refined concept model

Design Development | ARC761

Final Design: Room 5 45

Design Development | ARC761

SketchUp Model

Physical Model

Modelling the design in SketchUp allowed us to get a feel for the scale and space within the British Pavilion. It was easy to rotate around the rooms and understand the design from different angles.

Making a model was useful to understand the overall experience one would have as they move through the sequence of rooms. It was treated as a working model that adapted over time.

Design Development | ARC761

How British are you?

#AUBisland

Public Engagement Following the design of the frame, we considered additional ways of engaging the public during the day of the workshop. Continuing the theme of ‘Island’, we decided to wear t-shirts with questions on them that provoked further reflection on the topic. Out of the 12 of us, 6 wore the t-shirts and were open to discussion with the public, while 6 of us wore our normal clothes and acted undercover, covertly encouraging the public by leading by example. We settled upon six questions (above), which mostly comprised common phrases which are usually used as statements. Adding the question mark to these statements altered the meaning of them and invited alternative responses.

Members of the public appeared confident in approaching those wearing the t-shirts, and most often asked about details of the overall workshop. They then answered the specific questions by writing onto the tags and attaching them to the central ‘brain’ structure. Our undercover members were also successful in encouraging the public to interact, as people watched us write our thoughts onto a tag and then picked up their own tag to do the same. T-shirt wearers Undercover 47

Design Development | ARC761

Frame Colour Throughout the design process, we debated the colour of the frame. The initial consensus was for a black frame, to create a striking series of lines within the British Pavilion. We then considered the fine artistsâ&#x20AC;&#x2122; work and thoughtthe natural wood would better compliment the artwork. Finally, we settled upon white, to contrast against the timber floor and reflect the Italian sunlight. 48

Strategy | ARC761

Final Design: All Rooms These images convey the complete design situated throughout the British Pavilion. The first expresses the simplicity of the white frame, while the second conveys how the frame will be brought to life using the addition of light, textiles and human interaction. 49

Strategy | ARC761

STRATEGY

Practicalities of the Brief Planning for the transportation and the physicality of transporting the structure was a major part of the project. The dimension constraints of the hold luggage were a major factor in the design of the frame, which we tackled by breaking down an allowance of timber per room. More detail on this can be found in the accompanying Technology Report, while the following pages contain a brief summary of the process. Key considerations: 1. Construction within 1 hour 2. Transportation via aeroplane 3. ÂŁ500 budget

AUB

Venice

Strategy | ARC761

Departure Time (25/10/18)

From

Airline

Flight #

Arrival time (25/10/18)

06:20

London Stanstead

Ryanair

FR792

Venice Treviso

09:20

British Airways

BA2587

Venice Marco Polo

09:40

EZY806

Venice Marco Polo

11:35

EZY806

Venice Marco Polo

15:40

Wallace Erabu 06:30

London Gatwick

Zofia Kracinova, Emily Riddiough | Mitchell Reeves, Dave Wilkinson 08:35

London Gatwick

Easyjet

Liam Bailey, Jack Cooper, Sean Forryan, James Kilhams 12:30

LondonAirport Gatwick

Easyjet

Figan Dastan, Anna Freiesleben, Amy Speed | Ben Palmer, Adam Stanford, James Thomas, Madalina Voicu, Alex Weston | MA Fine Artists 13:10

London Stanstead

Ryanair

FR794

Venice Treviso

16:10

Easyjet

EVM2DMJ

Venice Marco Polo

16:30

Elizaveta Yakhontova | Ed Frith 13:25

London Luton Robert Grace

British Pavilion

Flight Details Having booked our flights before the start of the project, we shared our booking with the group and used these timings to strategise the transportation of materials.

Generator Hostel

Strategy | ARC761

Hold 01: Jack, Liam

Sean

Wallace

Hold 02: Sean, James

Jack

Robert

Emily

James

Amy

Liz

Liam

Anna

Zofia

Figan

Timber x35 Film Mirror Room 00 Room 03 Room 05

Timber x32 +Spares Room 01 Room 02 Room 04

Hold 03: Emily Fabric Stool 01 Stool 02 Stool 03 Tape Measure Masking Tape Hand Saw 01 Hand Saw 02 Screwdriver 01 Screwdriver 02 Tracing Paper

Electrical Tape 01 Electrical Tape 02

Parcel Tags Twine

Laptop Projector 02

Hold 04: Amy Paper x50 sheets Joints Screws Battery Drill 01 Battery Drill 02 Paint

T-shirts

Stool 04 Stool 05 Paint Brushes

Projector 01 Phone cable Speaker

Hold 05: Lily

Transported Luggage Total cost: ÂŁ185.69 52

Scissors x22 Paper x50 Battery Drill 03 Battery Drill 04 Mallet 01 Mallet 02 Mallet 03 Staple Gun 01 +Staples Masking Tape

Strategy | ARC761

Social Media Publicity During the design development, we felt it was important to be visible on social media to get the most out of the workshop. As this would be a public event, building up an online prescence beforehand was important to draw in interest as well as track peopleâ&#x20AC;&#x2122;s thoughts afterwards, with the use of the hashtag #AUBisland. 53

Strategy | ARC761

Predicted Costs: £471.34

Materials and Costing In the run up to Venice, we calculated costs in order to stay on track of the £500 budget. Upon return from the trip, we were able to calculate the total cost. This ended up going over budget by £52.76, due to extra luggage charges and buying other materials. 54

Actual Costs: £552.76 £52.76 over budget

Timber

Fabric

Electric tape

Duct tape

White paint

Paint rollers

Bin bags

Mirror

Garden twine

Shrink wrap

Parcel tape

Black pens

Drill bits

HDMI cable

Hold luggage

Luggage tags

Strategy | ARC761

Room 02

Room 03

9.15am - 9.45am Wallace, Rob, Anna Build frame - Drill 01 attach trace

9.00am - 9.20am Liam, Amy Build frame - Drill 03

9.00am - 9.15am Anna Set up projectors

9.00am - 9.20am Liz, Figan Use frame Tape to create floor scape

Room 3 Room 01

9.00am - 9.30am Sean, James Build frame - Drill 02 and attach fabric

Room 2

Room 4

Room 1

Room 5

Room 04

9.20am - 9.40am Jack, Amy Start laying out floor timber and joints and hand screwing

Room 00

9.00am - 9.15am Wallace, Rob Build frame - Drill 01 Emily Setting up and talking through with Sian 9.15am - 9.30am Emily Setting string up, plaques, pens

Room 0

Room 05

9.00am - 9.30am Jack, Zofia Build frame - Drill 04 attach mirror

Set Up and Rota 55

Venice Biennale | ARC761

WORKSHOP: AUB ISLAND

Venice Biennale The workshop day began with the erection of the frame and accompanying materials within the British Pavilion, before the opening of the Venice Biennale to the public. The frame was constructed within within 90 minutes and continually manned by the students, for the duration of the day. Throughout the day, the public were encouraged to contribute to and interact with the frame, allowing us to monitor responses to the design. Professor Sian Bowen and the fine artists contributed to public involvement within the main space by providing a paper folding workshop, the products of which were then distributed throughout the entirety of the British Pavilion. This changing nature of the workshop drew upon the themes discussed in the poem ‘Mutability’ by Percy Shelley. At the end of the day the frame was deconstructed, repackaged and removed from the Biennale. The following pages describe the workshop in greater detail. 56

Mutability by Percy Shelley I. We are as clouds that veil the midnight moon; How restlessly they speed and gleam and quiver, Streaking the darkness radiantly! yet soon Night closes round, and they are lost for ever:— II. Or like forgotten lyres whose dissonant strings Give various response to each varying blast, To whose frail frame no second motion brings One mood or modulation like the last.

III. We rest—a dream has power to poison sleep; We rise—one wandering thought pollutes the day; We feel, conceive or reason, laugh or weep, Embrace fond woe, or cast our cares away:— IV. It is the same!—For, be it joy or sorrow, The path of its departure still is free; Man’s yesterday may ne’er be like his morrow; Nought may endure but Mutability.

12.00pm

10.00am

9.45am

8.00am

7.30am

LUNCH 6.30pm

6.00pm

5.00pm

TRANSPORTING MATERIALS

DISASSEMBLING FRAME

TEA ON THE ROOF

WORKSHOP DISCUSSION

WORKSHOP

4.00pm

3.00pm

1.30pm

MEETING BC + FELLOWS

CONSTRUCTING FRAME

TRANSPORTING MATERIALS

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Workshop Day Timeline 57

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Phase 1 Set Up: MArch 1 Design 58

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Phase 2 Set Up: Spread of MA Fine Artistsâ&#x20AC;&#x2122; Work 59

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Room 3

Room 2

Room 1

Room 0 Room Timelines 60

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Room 4

Room 5

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Final Outcome: Room 0 The public engaged with the brain structure and added many of their own luggage tags The string layout allowed people to reach into the middle and become part of the weave Better co-ordination with the fine artists could have improved the way the room worked 62

Potential Future Design This future iteration of Room 0 creates small, occupyable spaces for people to create paper structures and write tags in greater privacy. Deconstructing the brain makes it more accessible to a greater number of people at one time.

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Final Outcome: Room 1 The room had a uniquely calming atmosphere as a result of the lighting and soft material The stools provided a rare opportunity for people to sit down and take their time

Potential Future Design This future iteration of Room 1 draws upon the sense â&#x20AC;&#x2DC;touchâ&#x20AC;&#x2122;, to provide an extra layer of comfort as people are encouraged to get up close and feel the soft material. The material hung from the frame would be more free-flowing and less taught, to greater convey a calming effect.

The location of this room beside the main space meant it was noisy and lost a lot of the calming atmosphere created by the material 63

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Final Outcome: Room 2 The combination of stimuli was effective and allowed it to stand out from other rooms This was the only space that divided the public by the route they took, making it an interesting space to monitor and evaluate The tunnel wasnâ&#x20AC;&#x2122;t deigned in enough detail to fit the proportions of the room 64

Potential Future Design To emphasize the powerful and dramatic qualities of the space, the tunnel could be made much taller, to better enclose the public within the space and create the sensation of being between two points.

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Final Outcome: Room 3 The openness of this space allowed people to occupy it wherever suited them

Potential Future Design The frame could be repositioned to encourage more people to walk through it and further engage with the work produced within the workshop.

The natural light contrasted the other spaces and provided a pleasant relief The positioning of the frame cut off the space and isolated the people within 65

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Final Outcome: Room 4 This minimal intervention was an effective demonstration of the politcal theme of Brexit The frame successfully disrupted the journey, adding confusion and raising questions as to the correct path to take The frame would have been more visually effective if it hadnâ&#x20AC;&#x2122;t warped during the day

Potential Future Design To further obstruct the path of the public and provide additional options for travel, an extra door could be added. This would create greater confusion and encourage more thought over the purpose of the space.

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Final Outcome: Room 5 This space represented the

best theme

Potential Future Design of

physically reflection

The position of the mirror could be shifted to be central within the door frame of the main space, to highlight its dual aspect.

It engaged well with the public, encouraging them to pause, gaze and consider The finish of the mirror detracted from the minimalist quality of the other spaces 67

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14:00

11:30 12:30

0 14:30

13:30

Movement Analysis

14:30

Room 0 The majority of visitors stopped immediately after entering from the outside gazing at the â&#x20AC;&#x153;islandâ&#x20AC;? of paper models. The majority (~60%) would choose to move further in the right direction, walking along the island or proceeding to the next room.

Room 1 Most people walked through without stopping though there were some who sat on the stools and slew down next to them to have a look around. Those coming from the Room 0 would normally choose the shortest way to the next doorway, while ~40% of the visitors coming from the Projection room would first go straight and then turn towards the exit.

13:30

Room 2 Very few visitors stopped here in the first part of the day. If they were entering from the Room 3 they were more likely to pass through the corridor, than people moving in the opposite direction: about a half of them walked around (behind) it. Later on, when the drawings were placed next to the frame almost everyone would go through it. 68

Scale 1:100

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Room 3 Visitors normally went along the frame, never through it. As it was the most brightly lit room of the Pavilion, a few people stopped opposite the patio doors and looked outside. Some of them also lingered on the right side of the room wondering what the 3rd Year students were up to.

Room 4 This room produced the most diffused pattern of paths. ~60% of people from Room 3 made use of the â&#x20AC;&#x153;doorâ&#x20AC;? formed by the frame, ~30% walked all the way around it having to cross the frame next to the Room 5 doorway. When twine was added to the frame, a stool was brought in and the artwork added, visitors slowed down and spent more time in the room.

Room 5 Early in the day, the majority of visitors spent very little time there, and as most of them were entering from the Room 0 they often passed by the mirror paying no attention to it. Bringing the stools in (at ~14:00) helped to enhance their interest.

Scale 1:100 69

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Movement Analysis We documented peopleâ&#x20AC;&#x2122;s journeys through the British Pavilion to analyse how and why they interacted with the design. Two couples gave us permission to film them: the first couple were in their 20s and from France, and the second couple were in their 30s from the Czech Republic. We animated their journeys onto the building plan to understand where they pause or move faster through the different spaces. It was interesting to see how at times the couples would split up and experience elements on their own, then come together to discuss other aspects. 70

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Movement Analysis The animations were created to show how people moved through the space. A plan view heatmap was created first, which then developed into a 3D model. The animation shows how people moved around the space and generates a trail of their path, with the trail building up to show the density of the spaces used. To develop this further, the use of sensors each room would have provided a more detailed look at how people used the space. Further data could include how long different people took to move through areas of the workshop, or mapping more accurately where people stopped to interact with the frame. 71

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Luggage Tag Analysis Following the workshop, we collected the luggage tags completed by the public and analysed the results. Many related to the themes of Island and Brexit, but a large proportion featured peopleâ&#x20AC;&#x2122;s names and other random statements. The charts below provide a brief overview of the content and the nationality of the writer. The map opposite illustrates the potential visitorbase based on language, which is likely wider due to there being multiple English-speaking nations.

Written Content 72

Nationality of Writer

ISOLATION Great workshop Atom Island Outstanding space, excellent work We all live in many individual lonely islands <signature> Britain is in a state of repair

• 480 tags total • 249 tags written on • 42 unanswered / blank • 189 taken away

Be not afeard; the isle is full of noises, sounds and sweet airs, that give delight and hurt not.

27.10.18 Funny, thank you! Arianna from Florence Island, but not isolated Chiara Biennale 2018 <...> Good for you String to string Mark to mark 2018

ISLAND / WORKSHOP

Answers to Questions

Freespace

GR-8 BRUITAINE is coming home is Britain FISH+CHIPS UTCIAD Will Grigg’s on fire! Vardy’s on fire Britain is home David Attenborough For Prime Minister • Fish, chips, mushy peas • Queuing • Awkwardness FREDO’s are 25p now. Horrendous

BRITAIN

♥ M+F 27/10/1 Florence Rosi - Ros AX5 ♥ E+F architects Follow me Giulia ♥ VeniceAssociation Biennale360| ARC761 <...> Marica & Eleo Think, turn around 27.10.18 27/10/18 Federica I love you Jacopo Sara Gabriel Maria Hoce I love you Sara Rosie (N2) 27 Jacopo ♥ Rosi - Ros Eleonora Rozza Love you Beatrice Eleonora ♥ Your Serijos #venezia2018 <rev.:> Roberta Federico (Russian) Jeana and Ana ♥ #Giardini2018 <...> here. < Francesco :) 27/10/201 #5C (Portugues Perugia Art School Ania and K Architecture 3°C Camilla Alessia I like Lucia Scott Martin Elias Xeros Rita (Greek) Perugia Art School Vivi & Irin B. Di Betto mother and da Giulia (Juliet) ♥ - I am from Argent made of books and TV ♥♥♥ series 27-10-18 Marti and Fede Cheesy PAU forever (Hungaria 15.11.12 ♥ www.sagra.h M+F forever (Hungarian 15.11.12 MORENO Davide <name> & <n Rome dancing swi VC Juliette Oria Architecture and Audrey & So Hello People, Environment name is... Mila! Perugia Carlo I am German

Italy Rest of the w NAMES / SELF-PROMOTIO

Statements 73

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24 Tea time is too late :D - Trying to define it, it kind of dissolve... First Harambe then this exhibition I appreciate all things very much August 27th 2018 <signature> ISLAND = A LIFE WITHOUT BOUNDARIES Islands can be lonely places Very nice exhibition!! S and S Why do u let people draw? ISOLATION Great workshop Atom Island Outstanding space, excellent work We all live in many individual lonely islands <signature> Britain is in a state of repair Be not afeard; the isle is full of noises, sounds and sweet airs, that give delight and hurt not.

27.10.18 Funny, thank you! Arianna from Florence Island, but not isolated Chiara Biennale 2018 <...> Good for you String to string Mark to mark 2018

Brexit 74

Island

ISLAND / WORKSHOP

GR-8 BR is co ho is B FISH+ UTC Will Grig Vardy Britain David Att F Prime • Fish, c

• • A FREDO’s a Horr

BRI

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65 33 32 Spaccini family ♥ Gioia ♥ Simone Elisa ♥ Sara Daniele Elisa Spaccini ♥ 2018/10/27 Love 26/11/2018

52 31

♥

Britain

27.10.18 Funny, thank you! Arianna from Florence Island, but not isolated Chiara Biennale 2018 <...> Good for you String to string Mark to mark 2018

ISLAND / WORKSHOP

BRITAIN

Your Nina Lanzi Ginevra ♥ 27/10/18 Umbria Art School www.pietrezingare.it Shari Cavadenti 3C B. di Betto Perugia Achille, Cecilia, Paolo, Raffaella... =) =) Celebrate life!! Giuliano and Mari Biennale 2018 Giorgia and Maria Li passed by here! KJMS PMLC’O 2018 Fabio Cusumano #travellikebianchini aka <signature> NIKI FLEUR Arch. Sara Aurora 27 of October 2018 Meiki + Christian ♥ Greetings from KAI Wesh (?) Elisabeth STRA Paola (Poole?) TGAM work PAOLO CARRUBBA 11i Biennale 2018 27/10/2018 Group of future <names> ♥ Architects inc. Bacio Sara Martina ♥ Loredana Petronela <name> ♥ 27/10/18 Teo Jeffri Francesca 27.10.2018 <names> <signatures> 45 ALE Erasmus 2018-2019 RAL #absolute ROSS & THOMAS <Someone> in Venice ♥ M+F 27/10/18 Miki Florence Rosi - Rosi AX5 ♥ E+F architects Follow me on Giulia ♥ <...> Association 360 Marica & Eleonora Think, turn around 27.10.18 27/10/18 Federica I love you Jacopo Sara Gabriel Maria Hoce I love you Sara Rosie (N2) 27.10.18 Jacopo ♥ Rosi - Rosi Eleonora Rozza Love you Beatrice Eleonora ♥ Your Serijoscha #venezia2018 <rev.:> Roberta Federico (Russian) Jeana and Ana of FAL ♥ #Giardini2018 <...> here. <...> Francesco :) 27/10/2018 #5C (Portuguese) Perugia Art School Ania and Karo Architecture Poland 3°C Camilla Alessia I like Lucia Scott Martin Elias Xeros!! Rita (Greek) Perugia Art School Vivi & Irina B. Di Betto mother and daughter Giulia (Juliet) ♥ - I am from Argentina made of books and TV ♥♥♥ series 27-10-18 Marti and Fede Cheesy PAUL forever (Hungarian) 15.11.12 ♥ www.sagra.hu M+F forever (Hungarian) 15.11.12 MORENO!! Davide <name> & <name> Rome dancing swiftly VC Juliette Orianne Architecture and Audrey & Sophie Hello People, my Environment name is... Mila! Perugia Carlo I am German

Italy Rest of the world NAMES / SELF-PROMOTION

Brew

Alpha Omega

21 Russia is occupant Tornike (Georgian) For us any place is Ankara (Turkish) Violin (Latvian)

It’s coming home Waba laba dub DUD!!!! Fiction

-V Do you speak English FRENCH???? take a PhD!!! Application 27.10.18 approved in CSC!! The Constant dripping family is in good health. wears away a stone 2018.10.27 phx (Chinese) (Latin). If you care only for Cruisers in Venice? today, there will be no Amazing road trip on tomorrow. Save the your <...> world, go vegan with love (Slovenian) Have fun! Thousands of thousands are thousands of us. Δρ x Δν < h/2 Thousands of good thoughts, Home? thousands of thousands of good Imagine hearts. Love yourself ♥ Loti - Slovenia YEET Never restrain your No illness imagination Life is Now. (and Spaghetti in the panini Here). (Italian - Spanish) Run too far Long live pizza! ♥ 1948-2018 Declaration Correlation is of Human Rights juxtaposition of <rev.:> Visit interpretations, round the Mattigtaler sky Hannnn Heckenlabyrinth der A good fat one. Menschenrechte DOGGIE’S GRANPA. Home is where the Achille Long live heart is!!! <name> amiable people 27/10/2018 F*ck the short-term WIF-WAF Vote: 10! Smile =) (Italian meme) Enjoy life & love Pursue your dreams Britain + 1.5 °= -1m ... Sooner or later everywhere is Venice? Do you see me? someone will retire MY LIFE ♥ 2018 and you will have your Dream with eyes wide place! open ♥ Berlin 2019 How much wood can “These two walls” <x 4 a woodchuck chuck times> I wish the skates could if a woodchuck could chuck wood?? <...> Swim Peace & Love Love your dream even Amy if it torments you! Zhana I breathe with your 18.10.27 breath...(song quote) Each day there is at least Who’s in the house? <signature> one reason to be happy. 2019 Erika Violante How much love can a Sardinia, Corsica single heart hold? ♥ & more...

<bad w <bad w Jui n V Jui <bad w these hi An unreal it < <cen <cen <cen <bad w I can hea Looking f 27/10/2 rev.: readi <

STATEMENTS

UNCLEAR OFFE

<... W IL <Ko

Venice Biennale | ARC761 65 33 32 Spaccini family ♥ Gioia ♥ Simone Elisa ♥ Sara Daniele Elisa Spaccini ♥ 2018/10/27 Love 26/11/2018

♥

Names and self-promotion 76

27.10.18 Funny, thank you! Arianna from Florence Island, but not isolated Chiara Biennale 2018 <...> Good for you String to string Mark to mark 2018

ISLAND / WORKSHOP

BRITAIN

Italy Rest of the world NAMES / SELF-PROMOTION

Russia is Tornike (G Fo any place (Tu Violin

take a PhD! approved family is in 2018.10.27 If you ca today, the tomorro world, (Slov

Thousands o thousa Thousands o thousands of t h

Never re imag Spaghetti i (Italian Long liv Corre juxtapo interpreta sky H A good DOGGIE’ Achille amiab

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Each day th one reason

How muc single he

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APPENDIX

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Sean Kelly Gallery. (2010). Breathing Room 2 | Sean Kelly Gallery. [online] Available at: https://www. Köskny.com/exhibitions/antony-gormley3?view=slider#3 [Accessed 7 Nov. 2018].

Museum Boijmans Van Beuningen. (2018). Sensory Spaces 1 - Oscar Tuazon - Museum Boijmans Van Beuningen. [online] Available at: https://www.boijmans.nl/en/exhibitions/sensory-spaces-1oscar-tuazon [Accessed 6 Nov. 2018]. Secession.at. (2018). Robert Irwin « secession. [online] Available at: https://www.secession.at/en/ exhibition/robert-irwin-2/ [Accessed 6 Nov. 2018]. Tate. (2018). Duchamp, Childhood, Work and Play: The Vernissage for First Papers of Surrealism, New York, 1942 – Tate Papers | Tate. [online] Available at: https://www.tate.org.uk/research/ publications/tate-papers/22/duchamp-childhood-work-and-play-the-vernissage-for-first-papers-ofsurrealism-new-york-1942 [Accessed 6 Nov. 2018]. Chandra Cerrito Contemporary. (2011). Linearis | Chandra Cerrito Contemporary. [online] Available at: http://www.chandracerritocontemporary.com/linearis-sabine-reckewell-flux-dianne-romaine/ [Accessed 10 Nov. 2018].