Architectural Interiors;Creative Hub - Final Major Project 2013Research Thesis - 2013Parasite - Final Project 2012Shipwrecked Gallery - 2012

Design Work;Artwork - Photogram - HandArtwork - Avagrace GraphicArtwork - Avagrace Graphic - AdShow Flyers T-Shirt DesignsShow FlyersLogo DesignArtwork - Landscape Abstract

I have created a recreational facility which encourages healthy living and healthy eating. With cycling be-ing one of the most popular and utilised methods of transport in central london. The project focuses on cyclists and sports/fitness fanatics alike. With areas within the building offering sports nutritionists space to work and practice (nutritionists being people who face a vast shortage of jobs within london compared to the amount of trained and qualified nutritionists within the city) the two communities work and train side by side in a cross programmed atmosphere.

The facility is home to a large crossover space which connects the two communities by the use of a large recreational ‘urban alotment’ this contains bespoke ‘urban growbags’ which have been encased in the buildings universal ‘module’ kit. The ‘module’ kit is a scheme for adaptable/moveable rectangular modules which can house various equipment/functions which benefit and are utilised by the communites in the vari-ous programmed areas within the building. The ‘urban growbags’ are used to grow ingredients and herbs used for supplements and for the communal kitchen & protein shake bar, this space is accessible by the two communities and outside users to create a social breakout space. Finally on the sub-basement level of the building the hub houses a function space which is used for bespoke bicycle storage during the day and in the evening is home to live music and live entertainment with a fold out stage, portable bars and sit-down areas. With the combination of working/training areas and breakout spaces & live entertainment my creative hub aims to create a health environment for central london.

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The site 36 queen street lies within central london, an area which has a strong and colourful past. I decided to take a different look at this building by analysing its immediate context and identifying key ‘users’. The first thing that i noticed was the vast amount of cyclists in comparison with the other methods of transport used in central london, this immediately secured cyclists as one of my users, and my second chosen user came hand in hand, sports nutritionists. From research i found that nutritionists actually struggle when it comes to secure employment, and within the area there is only one notable nutritionist practice.

The project started in with an abstract vibe, after selecting a few key ‘elements’ such as the london cycle network and a bicycle rim, i started the form generation to gain an abstract understanding of the focal points of the project, this became the concept of the project.

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CONCEPTUAL DESIGN STRATEGY

FORM GENERATION "ELEMENTS" FORM GENERATION STACKING "INTERVENTION" ABSTRACTED MAP OF LCN

CONCEPTUAL DESIGN STRATEGY

FORM GENERATION "ELEMENTS" FORM GENERATION STACKING "INTERVENTION" ABSTRACTED MAP OF LCN3

This is the central area of the roof intervention, showing the inhabitation of the central allotment. Users interact with the urban growbag modules and use the area as a breakout space. Below the plan shows the roof strategy in terms of growbag layout.

Roof Level - Urban Allotment - 1:300

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The sub-basement floor’s focal point is the modular adaptable stage which folds out when the stacked ‘plates’ are moved out and positioned parallel with eachother. The space as a whole is used for storage during the day with the use of a hanging arrangement (for bicycles) and as a func-tion space during the evening (live music,entertainment and bar/lounge).

Sub-Basement Level - Function/Storage Space - 1:300

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The basement floor is used exclusively for the cyclists. The areas included on this floor are; additional excersize, protein shake bar, rest areas, communal bathroom/shower room, and merchandising areas. The space works hand in hand with the ground floor above in the way that nutrition and excersize come hand in hand.

Basement Level - Cyclist’s Space - 1:300

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The ground floor is used as a space for the sports nutritionist’s, coming with the trade, the main areas needed for this user are; excersize, communal kitchen, consultation and rest areas. This perspective is taken from the central form, where the communal kitchen is located.

Ground Level - Sports Nutritionist’s Space - 1:300 11

The core in terms of usability and function in this project is this design element, the adaptable ‘module’. On the first site visit, the building was in a stripped state and had an industrial feel. With temporary lighting and barriers taking over the space i set out to create something as easy to adapt as this, which resulted in the design of an adaptable ‘module’ which comes in a few variations, the most successful of which being the ‘urban growbag’ module and the ‘workbench’ module.

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With the theme of the project set as adaptability, it meant designing some sort of modular adaptable furnishings to comply with the spaces needs and functions. I developed this ‘module’ and then applied different functions to the developed module envelope, above is an exploded isometric drawing of the urban growbag module.

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Another main focal point of the proposal is the urban allotment located on the roof level of the building. Creating a breakout space whereby the users and general public can use to put something back into the building and also be procreative is very important in this project, as the aim is to create a community within

Spinach - folic acid Used in protein shake bar and communal kitchen

Bitter lemon - creatine Used in protein shake bar

Cabbage - glutamine Used in protein shake bar

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The details above show two elements of the project which utilise the structural beams. The first being ‘detail a’ which shows the user interactive panel which is used to control the tensity of the installation form. ‘detail b’ shows the hanging storage used during the day on the sub-basement level of the building.

‘Detail A’ 1:20

‘Detail B’ 1:20

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How does Deconstructive Architecture affect the relationship between program, user and space? My motiva-tion behind this lies within my own work. My work has always had a deconstructive hue within the projects and pieces i produce, the works of Libeskind and Matta - Clark have always been precedents to my work, so to understand how this relationship is affected is to understand further my own design processes.Program, user and space are quite often the key three elements which define a space/building and make the building function or not function. Looking at how Deconstruction as a theory, movement and design process and Deconstruc-tive architecture in relation to these three elements is important because it has a huge effect on the relationship between program, user and space, but whats even more important is how. Analysing key texts of well renowned theorists such as Jaques Derrida, Bernard Tschumi and monographs of Daniel Libeskind, Gordon Matta - Clark and Le Corbusier i broke down deconstruction and set out to make sense of it and then apply this research to analyse specific case studies. As a result of this research and analy-sis, i came to the conclusion that defining what, if and how deconstructive architecture affects the relationship between program, user and space can be troublesome. It is where few elements coexist but do not become one, program, user and space doesnt become one with each other or with deconstruction. Deconstruction is the fragmentation of being and thought, and in truth, everything. So in the end it is not how deconstructive architecture affects program, user and space it is in fact how does the design of deconstructive architecture affect program, user and space because this is the source of how deconstructive spaces work/fail. Deconstruc-tive architecture is designed/planned with the intention of creating disjunctioned and distorted spaces which can be programmed and used but the architecture will never become one with any of these terms because they can only coexist, the very idea of them ever becoming one goes against all theory and philosophy that defines deconstruction.In final conclusion the realisation behind my thought process allowed me to develop a successfull project as once it is clear that these three elements compliment but do not co exist its easy to develop a design proc-ess to adhere to this conclusion. From the case studies i have analysed its clear how different two or three projects in the same style can end so differently, and how much of a different feel they can all possess, but its the relationship between program, user and space which is the most interesting, three elements that should work together. This being true within traditional architecture, but within deconstructive architecture the three elements only allow theirselves to coexist and refuse to work together, so my answer to the stated question is, deconstructive architecture has a negative effect on these elements and how they work together but the overall outcome is positive, if these elements worked together and didnt only coexist then deconstructive architecture would not exist, which would be a great shame in my eyes.

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Over the last couple of years supermarkets have thrived and grown in size and numbers. There is a supermarket a couple of miles away from us at all times. Because of this many local shops and farmers have suffered. The largely imported proportion of produce and products mean unreal low prices, almost unlimited stock and a large selection of products which local businesses cannot compete with. On top of this due to the nature of this large amount of imported products most supermarkets are slowly harming our planet with large co2 emissions from frieght lorries circleing the m25 all day waiting on delivery location and overseas cargo ships attacking the earths sky its a wonder how the pro’s outweigh the con’s when it comes to supermarket trade.I aim to do something about this, i want to create an environment which is eco-friendly, promotes the use of local produce grown on the premises, promotes healthy eating and promotes a healthy lifestyle. I chose to look at supermarkets because people need to eat, they need food and drink to survive - its a necessity. These chains bring in thousands of people every day and therefore creates a huge target audience for me to promote this eco-environment. Healthy eating is something that has been pushed massively upon the nation over that last few years, although 60.8% of adults and 31.1% of children in the uk are overweight. With the introduction of an on the premises vegetable/produce growing facility and a sheltered gym pavillion on the roof of my site this will create a community hub intent on spreading the word of healthy eating and healthy living in a less polluted world. These radical changes will come in the form of an infection - a parasite. The parasite will be introduced into the stores “hot spots” determined by human behaviour analysis and monitoring the navigation in which customers interact with the store, it will create a physical manifestation which scales/warps/breeds products, shelving and other components of the store to create “vortex like” passages which navigate customers up onto the roof of the store where they will be greeted by this eco-friendly paradise. My parasite will take on the altered characteristics of the infection known as “toxoplasma gondi”.

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Distorted floor plans created the main bulk of the physical manifestation, by distorting the floor plans and then alligning them on top of each other, i created a “loft” in autodesk maya which created my final form. This came after lots of exploration of form generating.

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Toxoplasma gondii is a species of parasite, it infects cats, birds, warm blooded animals & humans.It has 2 life cycle phases; 1. First phase only takes place in cats 2. Second phase takesPlace in warm blooded animals & humans. So its the second phase im interested in. In the secondPhase the toxoplasma parasite invades cells and forms a space called a vacuole, inside thisVacuole (called a parasitophorous vacuole) the parasite forms “bradyzoites” (slow growing infection’sTaking place in muscles & tissue) which are slowly replicating versions of the parasite.

Using paint and oil i created these parasitic abstracts, from those i created these mixed media spirals,this helped me get an idea on how i could appropriate the parasite to the site building.

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These diagrams show the components which make up the parasite. The parasite has grown from the warped sales floor plans and then stacked to create a lofted form, a physicality of infection if you will.

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This process shows the development taken on to reach the final aesthetic skin texture (top right), aswell as the floor plan abstraction, the graphic representation of the supermarket was also abstracted to add to the disorien-tation theme of this parasite.

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4 - service block1 - roof cafe

3 - allotments

2 - creche, gym & social

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Elevations & Section - Parasitic Void & Inhabitation - 1:500

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Roof Level - Parasitic Void - 1:500Elevations & Section - Parasitic Void & Inhabitation - 1:500

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Ground Level - Parasitic Void - 1:500

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Ground Level - Parasitic Void - 1:500

SHIPWRECKED GALLERY

ANISH KAPOOR - SKY MIRROR JAMES TURRELL - LIGHT/SPACE JUTA CASTRO/NUJI - SPACE01 DAN GRAHAM - REFLECTION ZAHA HADID - OPERA HOUSEDANIEL LIBESKIND - MUSEUMTORAFU ARCHITECTS - DREAMANISH KAPOOR - CLOUD GATE

SHIPWRECKED GALLERY

ANISH KAPOOR - SKY MIRROR JAMES TURRELL - LIGHT/SPACE JUTA CASTRO/NUJI - SPACE01 DAN GRAHAM - REFLECTION ZAHA HADID - OPERA HOUSEDANIEL LIBESKIND - MUSEUMTORAFU ARCHITECTS - DREAMANISH KAPOOR - CLOUD GATE

NO. 3 SLIP CHATHAM DOCKYARDNo 3 Slip 1838. This had a linked truss structure and was originally covered in Tarred Paper, which was quickly replaced with a zinc roof. The slip was backfilled around 1900 and a steel mezzanine floor was added. It became a store house for ships boats.

The dockyard closed in 1984. It covered 400 acres (1.6 km²). After closure this was divided into three sec-tions. The easternmost basin was handed over to the Medway Ports authority and is now a commercial port. 80 acres (324,000 m²), comprising the 18th century core of the site, was transferred to a charity called the Chatham Historic Dockyard Trust and is now open as a visitor at-traction. The other tranche was converted into a mixed commercial, residential and leisure development.

St Mary’s Island, a 150-acre (0.61 km2) site, once a part of the Dockyard, has been transformed to a residential com-munity for some 1,500 homes. It has several themed areas with traditional maritime buildings, a fishing (in looks only) village with its multicoloured houses and a modern ener-gy-efficient concept. Many homes have views of the River Medway. A primary school (St. Mary’s CofE) and a medical centre provide facilities for the residents and there are attractive walks around the Island.

Chatham Historic Dockyard is a maritime museum on part of the site of the former royal/naval dockyard at Chatham in Kent, England.

Chatham Dockyard covered 400 acres (1.6 km²) and was one of the Royal Navy’s main facilities for several hun-dred years until it was closed in 1984. After closure the dockyard was divided into three sections. The eastern-most basin was handed over to Medway Ports and is now a commercial port. Another slice was converted into a mixed commercial, residential and leisure development. 80 acres (324,000 m²), comprising the 18th century core of the site, was transferred to a charity called the Chatham Historic Dockyard Trust and is now open as a visitor at-traction. It claims to be the world’s most complete dock-yard of the Age of Sail. The attraction has seven main elements:· 3 historic warships: · HMS Gannet (1878) · HMS Cavalier (R73) · HMS Ocelot (S17) · The Ropery: a Georgian and Victorian rope factory. · Wooden Walls: a recreation of the working life of the dockyard in 1758, centred on the construction of HMS Valiant. · Museum of the Royal Dockyard: with model ships and other exhibits, from the Spanish Armada to the dock-yard’s closure shortly after the Falklands War.

Lifeboat: a museum about the work of the Royal National Lifeboat Institution which has 17 historic vessels.

3 Slip - The BIG Store: Originally a covered slip-way, now a display of large objects from the Dockyward and the nearby Royal Engineers Museum.

No 1 Smithery: Originally an iron-working building, restored and re-opened in July 2010 to house temporary exhibitions, permanent displays and stores of objects from the Dockyard itself and from the National Maritime Museum and Imperial War Museum, particularly paintings and ship models.

Workers at the dockyard performed eight years of resto-ration work on the Havengore, the ceremonial vessel that carried the body of Winston Churchill during his state funeral. In addition the dockyard is acting as custodian of artifacts, masts and rigging from the Cutty Sark and the Medway Queen, while their hulls are being restored elsewhere. Records of the ships built at Chatham go back to 1646.

NO. 3 SLIP CHATHAM DOCKYARD - MEZANNINE

NO. 3 SLIP CHATHAM DOCKYARD - GROUND FLOOR

NO. 3 SLIP - SECTION AA 1:200 NO. 3 SLIP - SECTION BB 1:200 NO. 3 SLIP - FIRST FLOOR - MEZANNINE 1:200

A A

B

B

NO. 3 SLIP CHATHAM DOCKYARDNo 3 Slip 1838. This had a linked truss structure and was originally covered in Tarred Paper, which was quickly replaced with a zinc roof. The slip was backfilled around 1900 and a steel mezzanine floor was added. It became a store house for ships boats.

The dockyard closed in 1984. It covered 400 acres (1.6 km²). After closure this was divided into three sec-tions. The easternmost basin was handed over to the Medway Ports authority and is now a commercial port. 80 acres (324,000 m²), comprising the 18th century core of the site, was transferred to a charity called the Chatham Historic Dockyard Trust and is now open as a visitor at-traction. The other tranche was converted into a mixed commercial, residential and leisure development.

St Mary’s Island, a 150-acre (0.61 km2) site, once a part of the Dockyard, has been transformed to a residential com-munity for some 1,500 homes. It has several themed areas with traditional maritime buildings, a fishing (in looks only) village with its multicoloured houses and a modern ener-gy-efficient concept. Many homes have views of the River Medway. A primary school (St. Mary’s CofE) and a medical centre provide facilities for the residents and there are attractive walks around the Island.

Chatham Historic Dockyard is a maritime museum on part of the site of the former royal/naval dockyard at Chatham in Kent, England.

Chatham Dockyard covered 400 acres (1.6 km²) and was one of the Royal Navy’s main facilities for several hun-dred years until it was closed in 1984. After closure the dockyard was divided into three sections. The eastern-most basin was handed over to Medway Ports and is now a commercial port. Another slice was converted into a mixed commercial, residential and leisure development. 80 acres (324,000 m²), comprising the 18th century core of the site, was transferred to a charity called the Chatham Historic Dockyard Trust and is now open as a visitor at-traction. It claims to be the world’s most complete dock-yard of the Age of Sail. The attraction has seven main elements:· 3 historic warships: · HMS Gannet (1878) · HMS Cavalier (R73) · HMS Ocelot (S17) · The Ropery: a Georgian and Victorian rope factory. · Wooden Walls: a recreation of the working life of the dockyard in 1758, centred on the construction of HMS Valiant. · Museum of the Royal Dockyard: with model ships and other exhibits, from the Spanish Armada to the dock-yard’s closure shortly after the Falklands War.

Lifeboat: a museum about the work of the Royal National Lifeboat Institution which has 17 historic vessels.

3 Slip - The BIG Store: Originally a covered slip-way, now a display of large objects from the Dockyward and the nearby Royal Engineers Museum.

No 1 Smithery: Originally an iron-working building, restored and re-opened in July 2010 to house temporary exhibitions, permanent displays and stores of objects from the Dockyard itself and from the National Maritime Museum and Imperial War Museum, particularly paintings and ship models.

Workers at the dockyard performed eight years of resto-ration work on the Havengore, the ceremonial vessel that carried the body of Winston Churchill during his state funeral. In addition the dockyard is acting as custodian of artifacts, masts and rigging from the Cutty Sark and the Medway Queen, while their hulls are being restored elsewhere. Records of the ships built at Chatham go back to 1646.

NO. 3 SLIP CHATHAM DOCKYARD - MEZANNINE

NO. 3 SLIP CHATHAM DOCKYARD - GROUND FLOOR

NO. 3 SLIP - SECTION AA 1:200 NO. 3 SLIP - SECTION BB 1:200 NO. 3 SLIP - FIRST FLOOR - MEZANNINE 1:200

A A

B

B

NO. 3 SLIP CHATHAM DOCKYARDNo 3 Slip 1838. This had a linked truss structure and was originally covered in Tarred Paper, which was quickly replaced with a zinc roof. The slip was backfilled around 1900 and a steel mezzanine floor was added. It became a store house for ships boats.

The dockyard closed in 1984. It covered 400 acres (1.6 km²). After closure this was divided into three sec-tions. The easternmost basin was handed over to the Medway Ports authority and is now a commercial port. 80 acres (324,000 m²), comprising the 18th century core of the site, was transferred to a charity called the Chatham Historic Dockyard Trust and is now open as a visitor at-traction. The other tranche was converted into a mixed commercial, residential and leisure development.

St Mary’s Island, a 150-acre (0.61 km2) site, once a part of the Dockyard, has been transformed to a residential com-munity for some 1,500 homes. It has several themed areas with traditional maritime buildings, a fishing (in looks only) village with its multicoloured houses and a modern ener-gy-efficient concept. Many homes have views of the River Medway. A primary school (St. Mary’s CofE) and a medical centre provide facilities for the residents and there are attractive walks around the Island.

Chatham Historic Dockyard is a maritime museum on part of the site of the former royal/naval dockyard at Chatham in Kent, England.

Chatham Dockyard covered 400 acres (1.6 km²) and was one of the Royal Navy’s main facilities for several hun-dred years until it was closed in 1984. After closure the dockyard was divided into three sections. The eastern-most basin was handed over to Medway Ports and is now a commercial port. Another slice was converted into a mixed commercial, residential and leisure development. 80 acres (324,000 m²), comprising the 18th century core of the site, was transferred to a charity called the Chatham Historic Dockyard Trust and is now open as a visitor at-traction. It claims to be the world’s most complete dock-yard of the Age of Sail. The attraction has seven main elements:· 3 historic warships: · HMS Gannet (1878) · HMS Cavalier (R73) · HMS Ocelot (S17) · The Ropery: a Georgian and Victorian rope factory. · Wooden Walls: a recreation of the working life of the dockyard in 1758, centred on the construction of HMS Valiant. · Museum of the Royal Dockyard: with model ships and other exhibits, from the Spanish Armada to the dock-yard’s closure shortly after the Falklands War.

Lifeboat: a museum about the work of the Royal National Lifeboat Institution which has 17 historic vessels.

3 Slip - The BIG Store: Originally a covered slip-way, now a display of large objects from the Dockyward and the nearby Royal Engineers Museum.

No 1 Smithery: Originally an iron-working building, restored and re-opened in July 2010 to house temporary exhibitions, permanent displays and stores of objects from the Dockyard itself and from the National Maritime Museum and Imperial War Museum, particularly paintings and ship models.

Workers at the dockyard performed eight years of resto-ration work on the Havengore, the ceremonial vessel that carried the body of Winston Churchill during his state funeral. In addition the dockyard is acting as custodian of artifacts, masts and rigging from the Cutty Sark and the Medway Queen, while their hulls are being restored elsewhere. Records of the ships built at Chatham go back to 1646.

NO. 3 SLIP CHATHAM DOCKYARD - MEZANNINE

NO. 3 SLIP CHATHAM DOCKYARD - GROUND FLOOR

NO. 3 SLIP - SECTION AA 1:200 NO. 3 SLIP - SECTION BB 1:200 NO. 3 SLIP - FIRST FLOOR - MEZANNINE 1:200

A A

B

B

NO. 3 SLIP CHATHAM DOCKYARDNo 3 Slip 1838. This had a linked truss structure and was originally covered in Tarred Paper, which was quickly replaced with a zinc roof. The slip was backfilled around 1900 and a steel mezzanine floor was added. It became a store house for ships boats.

The dockyard closed in 1984. It covered 400 acres (1.6 km²). After closure this was divided into three sec-tions. The easternmost basin was handed over to the Medway Ports authority and is now a commercial port. 80 acres (324,000 m²), comprising the 18th century core of the site, was transferred to a charity called the Chatham Historic Dockyard Trust and is now open as a visitor at-traction. The other tranche was converted into a mixed commercial, residential and leisure development.

St Mary’s Island, a 150-acre (0.61 km2) site, once a part of the Dockyard, has been transformed to a residential com-munity for some 1,500 homes. It has several themed areas with traditional maritime buildings, a fishing (in looks only) village with its multicoloured houses and a modern ener-gy-efficient concept. Many homes have views of the River Medway. A primary school (St. Mary’s CofE) and a medical centre provide facilities for the residents and there are attractive walks around the Island.

Chatham Historic Dockyard is a maritime museum on part of the site of the former royal/naval dockyard at Chatham in Kent, England.

Chatham Dockyard covered 400 acres (1.6 km²) and was one of the Royal Navy’s main facilities for several hun-dred years until it was closed in 1984. After closure the dockyard was divided into three sections. The eastern-most basin was handed over to Medway Ports and is now a commercial port. Another slice was converted into a mixed commercial, residential and leisure development. 80 acres (324,000 m²), comprising the 18th century core of the site, was transferred to a charity called the Chatham Historic Dockyard Trust and is now open as a visitor at-traction. It claims to be the world’s most complete dock-yard of the Age of Sail. The attraction has seven main elements:· 3 historic warships: · HMS Gannet (1878) · HMS Cavalier (R73) · HMS Ocelot (S17) · The Ropery: a Georgian and Victorian rope factory. · Wooden Walls: a recreation of the working life of the dockyard in 1758, centred on the construction of HMS Valiant. · Museum of the Royal Dockyard: with model ships and other exhibits, from the Spanish Armada to the dock-yard’s closure shortly after the Falklands War.

Lifeboat: a museum about the work of the Royal National Lifeboat Institution which has 17 historic vessels.

3 Slip - The BIG Store: Originally a covered slip-way, now a display of large objects from the Dockyward and the nearby Royal Engineers Museum.

No 1 Smithery: Originally an iron-working building, restored and re-opened in July 2010 to house temporary exhibitions, permanent displays and stores of objects from the Dockyard itself and from the National Maritime Museum and Imperial War Museum, particularly paintings and ship models.

Workers at the dockyard performed eight years of resto-ration work on the Havengore, the ceremonial vessel that carried the body of Winston Churchill during his state funeral. In addition the dockyard is acting as custodian of artifacts, masts and rigging from the Cutty Sark and the Medway Queen, while their hulls are being restored elsewhere. Records of the ships built at Chatham go back to 1646.

NO. 3 SLIP CHATHAM DOCKYARD - MEZANNINE

NO. 3 SLIP CHATHAM DOCKYARD - GROUND FLOOR

NO. 3 SLIP - SECTION AA 1:200 NO. 3 SLIP - SECTION BB 1:200 NO. 3 SLIP - FIRST FLOOR - MEZANNINE 1:200

A A

B

B

No 3 slip 1838. This had a linked truss structure and was originally covered in tarred paper, which was quickly replaced with a zinc roof. The slip was backfilled around 1900 and a steel mezzanine floor was added. It became a store house for ships boats. Out of all of the slips within chathams dockyard this space (top photo above) is the most renowned, after appearing in various movies its easy to see why this space was chosen by me for this project.

I utilised this space with the use of introducing a repeated hanging element into the space and brought in functions such as gallery, restaurant and social spaces. With the space already being used once a year for the uca btec national diploma students end of year exhibition (that i was once a part of) it made sense to create a proposal whereby the space is utilised all year round.

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The idea conceptually for the project was to look at repetition or imitation of the main focal point of the structure which is the timber frame. By repeating this form and appropriating it at a smaller scale then sending it back into the interior of the primary structure you create a disorientating form within a form. Later on fragmented mir-ror was added to increase the level of disorientation.

Concept Diagrams -1:1000 & 1:500

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The project as a whole was very conceptual and playful, the diagram below shows the final general form, which takes into accound the appropriated & repeated timber frame and the additional fragmented mirror. This as a whole creates a suspended walkway which adds a new level to the space, which in the project is designed to host restuarant, gallery and social spaces. The perspective above shows a rough mockup of the space.

Concept Diagram - 1:500

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Section A - 1:500

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Section A - 1:500 Section B - 1:500

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*Graphical layout, texturing & text only*’Maven’ logo by unknown designer

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*Artwork by Sam White @ Establishment Arts*Graphical layout, texturing & text only

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*Coastline logo by Coastline *Hildamay logo by unknown designer

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*Graphical layout, texturing & text only

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