Ravensbourne Space II - Design

Construction of the model began with my base shape:

I used this shape to guide me on how a booth would extend from this piece. As I began to construct an individual booth, I became quite caught up in measurements because the shape drawn did not result in an equal measured booth. This issue meant I had to slightly adjust how the final booths would appear.

Writing and finding all these measurements became quite time consuming, because at the same time I was attempting to make the model but the measurements continuously kept on having errors. I then resulted to using sketchup to quickly create a brief model on the space and find the correct measurements. This sped up my model making process.

I calculated that the roofs would have to be formed of 4 parts because there were 4 different lengths on the roof. Additionally, I looked at the two different compositions that the roof could make with its shapes. I chose my second composition because when that booth was in a larger number, the overall appearance seemed more connected.

Joining multiple booths together

I joined multiple replicas of one initial booth to create a line of booths for the space. It turned out to appear too claustrophobic and too uniform. I then decided I needed a way to separate the booths but still keep the roof design, because it added a Ravensbourne aesthetic. 

Another way of integrating the roof and divider designs was too implement them into the floor plan, which I tried, however it appeared to busy. From this I then reduced the floor design to have my core design as the floor plan.

Experimenting with floor plans

I used the final composition as my floor plan, since it was the least busiest yet it still integrated my core design. Furthermore, I used the roof designs to be the facade for the space, which would appear as an intriguing aspect to invite people to see what is behind the facade.

Exterior of space

After making the sketchup model, I met a very big issue. When I was constructing the facade for my model, I was not able to construct it with just using the shapes used on the facade. I had to recreate every single booth for each roof section. This was extremely time consuming and wasted a lot of material. I then realised I should have revisited the process I used on sketchup, rather than to just jump ahead and make a model that copied sketchup.

Candlelight used for an ambient setting

Each divider has been wrapped in grey card and tracing paper to show that layers of sound proofing the dividers.

At this point I realised that I had spent too long on trying to integrate the roof design, because of this I was delayed in making model. In future projects, I will try to set improved time limits on the smaller designs.

Ravensbourne Space I - Basis

Getting an insight into how to accurately design for a space.

I was allocated the space of the atrium of Ravensbourne, it was slightly trickier to measure as we had an open space rather than a set room with walls. We used the measurements to create floor and elevation plans in extreme detail. I found this exciting because I was getting an insight into one aspect of the architectural design process. 

 We learnt about the scales that can be used for drawings. We used 1:20 as it was a smaller room so we could draw it larger. It was a very tricky process it getting the drawings accurate. I was pleased to be learning this process because I felt it would make my future models more realistic and improve my designs.

1:20 scale model

After having made the model, it was easier to form designs as I had the space virtually in my hands. 
Instead of immediately thinking of a function for the space, I decided I was going to integrate the context of the surroundings into the design and tailer the function around the design. I would pick out key elements and shapes influenced by the context and allow this design to be present in aspects of the space, so the space wouldn't appear to distant or foreign to its surroundings. e.g. including a red and yellow room with traditional paintings would not exactly fit the surroundings. However, I didn't want the space to blend in too much with its space as it may not strike someone's eye as much.

The function I chose was to create a place where people could relax and have a nap. I identified this as a need because from sitting and observing in class, my peers around me continued to fall asleep on their desks during working time. So I felt that during lunch times or morning breaks people should be able to tie themselves to a space where they have their own booth of calm, relaxation and silence. Creating a small atmosphere of these elements should help the individual to have a 'time-out' and feel refreshed after 20 minutes or so, and get back to work.

Having a limited space meant that I should accommodate as much material into the space. In maximising flow and efficiency, I decided to use booths as these are spaces that are designed to fit many people in small spaces. From this idea, I carried out research into how the presentations of different changing room booths.

As retail changing room booths were all quite fluid (curtains) or structured (doors) and were quite uniform. From seeing this I wanted to design my own booth dividers. I began this process from revisiting the space and tried to spot elements and themes that reoccured within Ravensbourne. I found this to be the colours:  green, purple and grey. Deciding to use the colours of Ravensbourne meant that whatever I created appeared to be more integrated with Ravensbourne surroundings. 

Additionally, I observed that abstract shapes evidently play a key role in the Ravensbourne theme such as in the shapes of the sofas, stairwells and of course the exterior of the building, I integrated these elements into my design. Doing this would relate my designs back to the context of the space. I used the influences of Gothic rose windows, which was used as inspiration for the Penrose pattern on Ravensbourne's exterior.

I began with deconstructing the shapes and forms that were used in the furniture and exterior structure.

I felt that these forms were too simple and weren't as fluid as the exterior of Ravensbourne.  After having researched the Gothic Rose windows, I discovered that the pattern was a form of fractal geometry design. In this sense the façade resembled the Sierpínski triangle. This led me to combine the descontructed shapes into larger shapes that fit my initial deconstructed shapes.

Compositions for patterns on the dividers

This is the final shape I decided to use that will be the core
form that would be integrated in the details of the space.

This is also the foam board model of the dividers that would be
used in the space.

The dividers for the booths would be made of a soundproof material called FabricTack panels. The panels would be shaped in the form of the dividers and it would line the inside
of the front wall. Reducing noise with these panels depend on how many panels you have, as I have five dividers a fair amount of noise would be reduced.

Sound would be further minimised through providing sound cancelling headphones. Each set would be placed in the booth.

As this space will be a an area for people to relax, the atmosphere in this confined space will be playing an important role. This thought led me to revisit Kengo Kuma's installation at the Sensing Spaces exhibition. Kuma’s installation involved a room that was infused with the smells of tatami, a traditional Japanese flooring mat made of compressed rice straw; and hinoki, a native tree to Japan. These smells gave an extremely ambient atmosphere through the sense of smell as well as the extreme dim lighting used.

I wanted to use these elements and create an atmosphere that would enhance the students' satisfaction of their university experience and improve their welfare. This could range from small things such as reducing stress levels.
As I researched into different scents, I found that many oils and scents have different properties that enhances one's wellbeing.
The different smells I would use to enhance the ambient atmosphere are:

• Pine - alleviates stress
• Lavender - calms the nervous system
• Vanilla - elevates your mood
• Peppermint - boosts concentration
• Bergamot - helps you sleep

I would infuse the variety of smells on different days of the week in the space, so students can experience different effects and enjoy different smells to their normal everyday lives. Since peppermint boosts concentration, this scent would be infused before lunchtimes because people's concentration levels tend to decrease in the early afternoon. The scents would be be placed in pots that hold bamboo sticks that emit essences.

Lastly, the atmosphere I hope to create would be enhanced by the dim lighting. A low cost dim lighting system would be in place for the space. The lighting would create a relaxing mood for people, a mood that borderlines ‘sleepy’, so people feel free to nap. The bulbs would have a low voltage and the dimness can be adjusted through the main switch.

Conceptual? Modernist? Abstract? 2.0

Continuing with designs that use the forms of Abstract Expressionists, I found myself designing shapes that were to fit within the golden ratio. I did this because as I was creating a structure that purely focused on form, it should at least catch ones attention immediately and have a strong design.

From the influences of the spatial aspect of geometric forms, I decided to create a void or space or a courtyard between two separate structures. Both structures would fit in the space of the golden ratio. I changed the forms to two structures as I felt that this suited better in reflecting the spatial aspects of expressionism. Additionally, I began designing bridges that would conjoin both structures. However, from my designs I felt that this would crowd the space and create unnecessary shadows. I also used a layering aspect because in this way it could show more forms of the structure.

As I began to create further sketches, I felt that the curved forms that seemed to be influenced by Boccioni and were not integrating the shapes and forms from Malevich or Kandinsky. So I then decided to go back to the simple idea of what I would be making if it wasn't 3D. An artwork. 
To display an art piece on a large scale, would be to create a large metal sculpture. I stuck with this idea because it closed the gap between a normal everyday structure and large scale installations. I used the basic forms of a square, triangle and circle, since this is what I found was used most commonly in my research. 

Aside from a main curved two or three floor structure, opposite the structure would stand large aluminium shapes, where people could wander inside and around the sculptures. This gives one a stronger involvement and interactivity with the space, rather than something to just look at. In terms of colours, bright complementary colours would be used in both the main building and sculpture, showing the use of colour that was used in Suprematism and Futurism.

I eventually ran out of time to make a model, I then used cardboard as a form of 'sketching' because this aided me in the process to continue making further designs. The cardboard structure has many overhanging elements to it because it creates interesting shadows and light leaks into the structure.

Sketches of initial plans

The location I decided to use to put the designs into context was Hyde Park Corner. I chose this location because it is a prominent point in London, where many people visit as it has much green space. This temporary structure could bring a colourful touch to the area as well as providing a new perspective for the area. This view could be seen from the top of the structure I have created.

I have used sketchup as tool of visualisation as ran out of time. Using ketchup didn't always work to my advantage as I could not exactly draw on the curved surfaces, which meant some of the shapes appeared quite disjointed. Although I did over come this issue by rearranging the composition of my shapes and used different cutting tools on sketchup. 

The viewing platform structure would be made of clad aluminium and american hardwood and glass, which would give the structure a lighter atmosphere in the park. Each floor does not have complete walls in the interior side because this gives a better connection and flow between the sculpture and building structure. 

Conceptual? Modernist? Abstract?

RESEARCH

For this catalyst project, I have found myself in a blurry area within the titles that were given, 
I have found that all areas (Conceptual, abstract, minimalism, digital and modernism) do 
overlap and interlink with each other,which is incredible but doesn't play to my advantage 
when knowing when to stop researching.

I set off to research the conceptual topic, simply because I am intrigued by big concepts. From discovering 'Conceptual Art' by Tony Godfrey, I found an exhibition that was of some debate in the book, this was the subject of 'Abstract Expressionism'. This term was not explained, so I researched this art movement and found that this was a branch of Modernism! It was then when I found that the project I was about to do was not strictly going to be on Modernism, but many branches involved with that movement. Yet the work I eventually discovered were abstract pieces of work!
Since I had found this link, this did put me at a disadvantage in the beginning because I did not know where to stop with my research! 

Abstract Expressionism was an art movement that focused on colour, form and directness; an aspect that I admired the most. Much of the work was non-representational and its inspiration was to be very direct in its work.
The main movements I researched were  Abstract Expressionism, Expressionism, Constructivism, Suprematism, Futurism and Deconstructivism. I briefly researched more art movements, so I could find more prominent artists'  work that stuck to my mind. The main artists I paid more attention to were Kandinsky, Rothko, Malevich and Boccioni (who resembled much geometric forms and directness). They have mostly focused on the importance of form, which is a key characteristic of Modernism.

Kandinsky, was the artist that struck me the most. I had created a square for the graphics rotation, which came to mind when I was exposed to his work.. I was very shocked at the similarities between his and my work. This was strange because I had never seen Kandinskys work before yet I seemed to have it in my mind. From this thought, I decided to research into further art movements that he was involved in. It turned out that he was not exactly part of the abstract expressionist movement but was part of the expressionist movement and der blaue reiter.

The Rothko chapel by Mark Rothko is what united both architecture and Abstract
Expressionism painting. This has been stated in an essay published by MoMA. He also wanted to simplify his work with directness. The
ambience that was given from the plain canvases in the chapel, was something I wanted to try to achieve in my final outcome.

Looking briefly at Constructivism led me to find Tatlin, it was because of him that I found
Futurism because he was heavily influenced by that movement. I focused on the dynamic
photos because I felt they captured the essence of moment, which is something that could
be transferred into attempting to create the atmosphere of a building. I really admired the
sharp but curved lines that are used in the following paintings. In addition, what appealed
to me was the aspect of having to ‘unscramble’ what the painting was. This characteristic
could produce very intriguing features within an architectural structure in more detail because I am really drawn to the spatial aspect in the geometric forms.

Consolidation.

Research ended today, and I found myself creeping into further areas of research such as German expressionism and De Stijl.
I found it quite challenging to consolidate the overwhelming amount of research (which I love) into my designs because I wanted to integrate the strong concepts behind Abstract Expressionism and Suprematism into my work as well as the spatial aspect of Kandinsky's work.

I chose to experiment with 'domestic interior' and 'interactive system/instellation' because I was hoping to form an idea that could bridge across the two areas. Here are a few vague forms I drew at first:

I used the forms from paintings created by Umberto Boccioni, who was part of the Futurist movement, because the sharp shapes appeared to me as something that would be visually striking in a building. Additionally, I used Malevich's and Kandinsky's influence to create my own composition of shapes and use this to 'build upwards' from the shapes.
I believed this was a good way in composing initial base shapes for my structure as it integrated much forms of the art movements.