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WEEK 10

A2 PRESENTATION SHEETS

ABOVE: Initial A2 Presentation sheet -only 1st page shown

Creating the first style of layout for the presentation sheet, I was preoccupied by wanting to create an interesting layout and lost attention in terms of balancing the images together. After feedback, I understood that the layout looked a bit cluttered and messy ; the eye went directly towards the 3 word strategy images and the protagonist rather than going towards the initial and final sketches of my own concept and plan. I found that the lack of white space in my presentation didn’t relate to my how delicate and airy the theme of 3x3 Teahouse was so I decided to change the composition of the page and reduce the size of the 3 word strategy images , the location photograph while increasing the size of my sketches to make them the focal point. I took similar approach towards my second page and reduced the size of my model photos and increased my plans and sections, proportional to their original 1:20 scale.

ABOVE: Second edit for presentation

Visually I found the second edit of my presentation much more proportional to my 3x3 design and concept. It also conveyed a similar vibe to the space I created and I liked the fact that there weren’t any other focal points within the sheet as the eye is directly drawn towards the Final Teahouse Design sketch.However, I found that I could further tweak my presentation sheet.

Below I am showing the Initial Layout and the Third & Final Layout of my Presentation sheets.

WEEK 9

FINAL SCALE MODEL / FINISHING BOUND BOOK/ VISUALS + A2 PRESENTATION

Having laser cut the dimensions of the Teahouse as well as the book cover, I started to put my model together. I experimented with various styles of lighting when putting together the model since I wanted the edged lighting for the Teahouse. The property of cast acrylic is that the edges glow when light is shone through the material, and that's the lighting style I wanted in my final design.

ABOVE: Edged lighting

ABOVE: Ceiling Design

ABOVE: Furniture elements within Teahouse

ABOVE: Final Model in studio lighting , black background

While experimenting with the different lighting angles, shades and backgrounds, I photographed the model. There were a lot of styles that I liked during the photographs, and my idea was to use one of these selected photographs to be incorporated into my visuals.

ABOVE: Various full model photographs in various angles

MODEL FOR VISUALS

ABOVE: Trying to work with model with white background

Since my Teahouse is meant to be created with glass, I used the images photographed in white background to give the look of glass. Although in the photograph it looks good, when I edited it onto my location the whole look was very washed out. Not only that, visually, it did not communicate what I wanted it to and how I pictured it (shown above).

After trying to fix that and not being able to succesfully edit it, I decided to use the model photographed in black background. Not only did I find that it kept the structure and furniture details within it visible, it also looked better in terms of how my original location would reflect on it. The Refuge has industrial style separators so the bold black lines would reflect on the clear glass of the Teahouse, giving it a linear, black/grey hue.

ABOVE: Edited transparent Teahouse for final visual

I liked the final result of the visual much more than the numerous ones I tried before. I wanted to create the visual in a very minimalistic style but be able to capture the busy ‘lights’ outside the conservatory part of The Refuge. It was also quite hard to find and capture a photograph of the space with fewer people and wasn’t allowed to take a few myself due to privacy of guests so I decided to use one of the older drawings I made of the space.

This time I found it relatively quicker and smoother to use Photoshop to create my visuals. Only time I hesitated was choosing a final presentation style for the visual (shown below). I decided to use the square style of the visual (right) because upon a closer look, it showed a much better perspective of the floor and water. Also the circular style of visual leaned bit more towards a graphics rather than design visuals.

ABOVE: Final presentation styles for visuals.

BOUND BOOK

ABOVE: Front (top) and back (bottom) covers for bound book made using laser cut featuring name at front and logo at the back

Personally I found the bound book to be executed very successfully and I was very happy with the overall look of it. A tiny disappointment was the binding holes. I loved the look of the small metal rings with the cast acrylic as it relates directly to how I wanted the actual Teahouse glass to be connected together and the contradiction between the two materials worked wonderfully together. However, the hole width I used while laser cut was just enough for the rings to bind my pages and covers together but the book won’t close fully. I decided to present the book standing so it won’t look as odd but other than that, I was very happy with the result.

WEEK 8

MODEL AND BOUND BOOK

Moving further along the project, I wanted to experiment with the property of the Teahouse structure and created a rough acetate model. What I found challenging to create was the slanted - diamond shaped roof of the Teahouse. Creating this sketch model helped me understand and visualise how much space would the furniture and floor-indent occupy and figure out if the remaining floor space is comfortable for movement.

After group tutorials, I was suggested to make a model in acrylic if possible; which I found to be good suggestion. Since my rough model was made of acetate, it wasn’t sturdy enough to hold the shape for long. What also pushed me into making a cast acrylic model was the cover of my bound book.

BOUND BOOK COVER INSPIRATION

I had been doing some research in the various type of ways I could make my bound book look more enticing and professional. I took inspiration from various cover designs that could tie into my project and found a few very interesting cast acrylic covers and knew I wanted to use them. ( Please follow link to view my Pinterest Board for book-binding https://pin.it/srzm2vi5mtfyp5 )

I also felt like having a cast acrylic cover would tie in well with my whole 3x3 project. I was a bit unsure if it would be too cliché but I went ahead with this idea after getting some constructive feedback. I also consulted with the technicians at the book-binding workshop beforehand to ask for gutter-measurements so the pages within are safe.

ABOVE: One of the book design inspirations

CREATING FILE FOR LASER CUTTING SCALE MODEL AND BOOK COVER

Previously during my foundation, I had made a few models using laser cut but I had never made them to scale. So creating this scale model for me was a new experience and I found it relatively moderate and straightforward to create the structure of the Teahouse.

However I did struggle while making the cover for my bound book in terms of calculating and placing the holes to enable binding. It was positioning the binding holes mid-way between the cover and calculating it in relation to the position of A5 pages.

Creating and fine tuning the files took me a whole day but after having created the file I did not feel like I was behind in my work and was confident with my time management.

CREATING AND EDITING IMAGES FOR BOUND BOOK

ABOVE: Example of image placement

I wanted get my bound book files ready for the week before presenting to give myself more time to edit and fine tune my visuals as well as presentation sheets. All my drawings are quite small so as mentioned before, I wanted it to be A5 and have them placed in a minimal style, one sketch to one page. So I took out the day to scan my drawings and edit them all indiviually and select the ones I wanted to include into my book. I used inDesign to create the file, found it quite straightforward to create the pages. I further edited the pages I wanted to include after creating the full file.

Above: Final 3D Sketch for final design

While creating the laser cut model I sketched a few final 3D sketches of my design along with the the materials I wanted to used for ‘floating’ design ; an organic rock surface, taking inspiration from Hiroshi Sugimoto’s Glass House.

I also drew a few of the pathways leading up to the teahouse, one of the other entrances other than the accessibility/service bridge.

WEEK 7

DESIGN DEVELOPMENT

ABOVE: Research and design structure brainstorming (left) and fine tuning design with initial floorpan indication

Having dealt with finalising a structure style for the Teahouse, I started to create initial design drawings of the physical structure of the Teahouse in relation to my chosen location, The Refuge. While creating this design, I wanted to incorporate the element of having water in the space to add to the experience of the guests. Since a lot of traditional Japanese teahouses are surrounded by a mini garden/zen-garden and the tea ceremonies are considered an ethereal and enlightening experience , keeping this element of the design I found to be quite exciting and engaging in a subtle way which keeps in line with the traditional plan of a Japanese tea house as well as the atmosphere I wanted to create as I also mentioned in previous weeks.

Above: Initial sketches and shape breakdown of Teahouse (left) and 1:20 Scale Floor-plan of Teahouse (Right)

In accordance with keeping that element of the design, I included it within my design. I had done a few sketches of the furniture elements within the 3D space, so I referenced these sketches while creating this floor-plan (shown on first image in this post). While making my scale plan I also realised I had overestimated the minimum distance between the table and bench so the open floor inside the plan that would enable people to put their feet into the water, was very small and would be uncomfortable to for anyone wanting to use this feature. Hence after a few suggestions, I decided to have the indent on floor in a ‘+’ shape to enable more freedom of movement. I also wanted to keep the bench and table with adjustable heights for people with any disabilities. The small bridge to the right of the plan is a service/accessibility bridge which can enable the servers to easily transport hot beverages and snacks easily into the Teahouse as well for people in wheelchairs to enter the Teahouse.

In the Octagon shape of the Teahouse, I decided to keep 5 fixed walls and 3 other entrances/exits to enable more ventilation in order to keep the place airy and also to make the small space less congested.

In terms of how the all glass design would look, I referenced Hiroshi Sugimoto’s Glass House. The angular shape of the roof takes inspiration from Peter Pichler’s Treehouse Hotels.

ABOVE: Sectional Drawing of design, taken mid-way

DESIGN CONCEPT DRAWING DETAILS

THREE WORD STRATEGY

At first I found it quite challenging to find conceptual images for my three words, Tectonic (previously sculptural), Intimate and Structural. I already had an idea for the type of images I wanted to find. All of the conceptual images come from installation art and/or sculpture. I also wanted to keep a uniform visual scheme between these images so despite the colours being different from scheme to shades are in the same territory.

READING WEEK WEEK 6

RESEARCH ON 3X3, PRACTICING PERSPECTIVE SKETCHING, SCALE PLAN DRAWING (task)

During the reading week, I experimented with potential visuals for the designs and strengthened aspects of my research. I also looked further into interaction psychology; as to how seating and table shapes/styles can have an impact on how a group of people using it communicate/interact with each other. Having gained information on this aspect of the design, I updated my idea of having a angular central table to a circular one. Having the round shape, in a way, forces people to face each other and creates a much more closer ‘bond’ rather than edged corners where one is confined to a singular side.

Above: Initial photoshop presentation for final model

I also started making a rough visual of my 3x3 space. Although the visual was fine in itself, looking back at it after a week, I felt it didn’t go along with the theme of space. As in I felt like the visual didn’t communicate the atmosphere of the space in the way I preferred it would. Hence, I decided to direct full attention to the visual after completing and finalising the model and making finalised 3-D concept drawings.

ABOVE: Research and practice drawings

As part of research and developing my drawing/sketching skills, I made lots of observational drawings in my preferred scale. I wanted to expand my perspective-sketch comfort zone since I usually go way too much into the having the perspective lines drawn straight and end up spending more time on it than required. All the drawings above are made using only pen to help me familiarise myself with drawing in pen straightaway.

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ABOVE: Timelapse of sketching Oriental Wing at Trafford Center food court

Having more time during the Reading Week, I also made a lot of observational sketches of various interior and architectural interest points I found in Manchester. This helped me recognise the different styles and composition of spaces and understand the numerous ways the interior designers/architects involved in renovating traditional spaces have managed to capture the essence of the original within them.

SCALE PLAN DRAWING

Above: Rough plan for calculations (left) and 1:20 scaIe plan (right)

I found making a scale plan quite helpful in familiarising myself with standard dimensions for common furniture elements along with recognising what the various line weights stand for. In foundation year, I tried making a floor-plan, although it was measured it was not to scale so this helped me correct past concepts as well. In this scale plan, I also included an indication for texture which was helpful in my sketching skills as well.

WEEK 5

3 X 3 SPACE

Starting the 3x3 project, I referenced the Mars Case by Open Architecture. Looking at the design of the pod and the scale of each proposal, I started to lean more towards the idea of an ‘interactive space’. The simple and minimal design of the pods reminded me of old traditional Japanese teahouses / Chashitsu which are built of the principal of simplicity to enable a more streamlined interaction between guests. As a result , I decided to base my 3x3 space around the same principal of design as Teahouses.

I looked at various designs that had a peculiar architectural shape ; designs that would suit my location while not overpowering it at the same time. Since the surrounding industrial compartments at The Refuge have a distinct presence, I wanted to create by 3x3 space in much simpler shape with minimal clash of materials. Hence, I started looking into designs of teahouses as well as any other type of architectural/interior space.

Chronologically: David Jameson, Floating Teahouse ; Hiroshi Sugimoto, Glass House Mondrian Pavilion

Conventionally, a teahouse or Chashtisu can be described as a traditional Japanese architectural space designed to be used for tea ceremonies. The most elaborate part of these teahouses can be identified as the roof with their distinctive curved eaves that extended further outwards into verandas, supported by brackets called tokyō or kumimono . Interaction between guests is usually promoted by ‘proper sitting’ or Seiza which is a traditional way of sitting on your knees enabling proper posture as well as a formal method.

RESEARCH AND CONNECTIONS

Above: Research and initial drawings for concept (also worked on during Reading Week)

When I started to research about these basics found in traditional teahouses, along with researching about the traditional interaction methods between guests, I also gave a look into the tradition and culture surrounding British teahouses. While Chashitsu’s pose a more formal and tranquil environment solely for the purpose of traditional tea ceremony gatherings, British teahouses offer a more casual approach towards social interactions in sedate and subdued environment. They also serve light snacks and meals which are absent in Chashitsu’s.

Last year I completed a project where I referenced David Jameson’s Teahouse based in Bethesda, USA (first photo in post) . Finding it appropriate for this project, I decided to take inspiration from his ‘floating’ teahouse design; A teahouse suspended from steel support columns. Considering the space within The Refuge, I found that the ‘floating’ aspect of the design will enable me to keep the beauty of the tiles intact. Similar to Hiroshi Sugimoto’s design (second from above), the material of the design doesn’t not clash or interfere with the blue tiles of the pool; similar to the effect I had in mind for my design. Keeping in line with my Reimagined Space, I also decided to add an ankle deep layer of water onto the beautiful blue flooring that conjugates with the Japanese tradition and gives the a more relaxing approach in terms of surroundings, possibly enhancing guest’s experience.

Above: The Refuge Manchester

PROGRESSION

Considering the differences in culture and tradition between the two, I decided to take elements from each to create a fusion teahouse. Having taken the historical references and design inspiration, I started experimenting with the different shapes and structures that my 3x3 space would have. Since I wanted a much simpler approach towards this design, I wanted the an end to end fusion of the glass without black linings. So despite having another structure within the ‘conservatory’ style space it won’t end up looking more crowded.

While making these initial designs I thought of creating the teahouse with two levels so it can accommodate a larger number of people. While creating this, not only did I find that the structure had a greater visual appeal with a lower ‘ceiling’ height but a second level would look highly congested considering the material to be used so I decided to keep the design limited to ground level.

WEEK 4

REIMAGINED SPACE

Start of the week I knew and had a clear idea of what the ‘Reimagined Space’ is going to be and started to give my idea appropriate visuals. I am not highly skilled at photoshop so it was a bit of a challenge getting used to working primarily with the software. Nevertheless, I experimented with various layers of materials as well as ‘mood’ effects to stay true to my intended design. I also spent a lot of time making sure I got everything as polished as I could within my capability at this stage.

ABOVE: Tishk Barzanji and Fusion Japanese Modern print

Sourcing and taking inspiration from Barzanji’s work, my design’s colour scheme was fully inspired by his artistic approach. I really wanted to reciprocate the pastel and calming mood of his illustrations so I based and edited all of the elements within the image to a similar tone.

It was a challenge trying to give the image a realistic depth feel and create it to a level that satisfied me. Especially with the design I had where the pool extended into the floor was a challenge and that aspect of the design took a long time to create effectively. To add to that, I also incorporated traditional tiling onto one of the pool’s intended bottom . I used a similar design to that of the tiles I found interesting in the entrance chambers of The Refuge.

ABOVE: Fusion Japanese Design

Similarly I incorporated a pathway to complete the theme of the space and make an indoor footpath which could be used for cycling as well. This added a more complete energy to the piece and to give a more satisfied continuation to the image, I added a similar set of Fusion Japanese tree landscape behind my drawing for the space to look more combined. I recorded the process with more detail in my sketchbook.

BELOW: Final Design created

WEEK 3

STARTING ‘REIMAGINED SPACE’

Thinking along the lines of a ‘Reimagined Space’ for my selected location, I started creeating a few moodboards/rough intial sketches of what I wanted to transform this space into. While searching for potential ideas and styles, I also decided to combine the various sketches I had for different elements within The Refuge done during Week 2. At this stage , I was just collecting images that I found interesting in terms of their interactive ability; how much of an immersive experience would they create for an individual entering the space. I was taking inspiration from my installation background and thinking of the space as more of a exhibition/installation space. What triggered this thinking was an older piece of light installation I did during my A-Levels along with a visit to KimSooja’s: To Breathe at Yorkshire Sculpture Park last year.

ABOVE: Project LUX inspired by Jim Sanborn (my A-Level final piece)

BELOW: KimSooja’s: To Breathe

However after giving it a bit more thought, I realised that this has been a safe choice quite a few times for me so I decided to push myself a bit more and try and find a way of incorporating my style into the developing design.

PROGRESSION OF IDEA

Moving further along the initial idea/mock up I found a lot of interesting styles of image rendering/ photo collages that appealed to my style and aesthetic. I like creating a collage style of visual presentation since I feel more comfortable working in a scrapbook style. As a result the main source of inspiration towards the final design of ‘Reimagined Space’ is a Kurdish London based visual artist Tishk Barzanji. I absolutely fell in love with his retro-futuristic style of ‘spaces’ , the colour schemes as well as the simplistically minimal depiction of the mood of the space.

ABOVE: Tishk Barzanji’s Retro-Futuristic Malls

Taking inspiration from his style of surrealities, I knew I wanted to create something that successfully manages achieve the retro-futuristic mood in its vibe since I do not have enough skills to replicate this as successfully. Now that I had an idea about how I would like my reimagined space space to look like, I also found real locations around the world that recreated the ethereal and calm vibe to that of Barzanji’s illustrations.

Below are the fews spaces/proposals I found out of which the Loong Swim Club in Suzhou, China ( below top left) stood out the most for me because its unique surrealist ceiling and soothing colour schemes creates the recreational space feel I wanted to convey in my initial designs.

Overall intake from the brief researching and brainstorming ideas, I decided to created a recreational indoor beach theme for the ‘Reimagined Space’ , preferably within pastel/calming scheme of colours. Thinking about the purpose of the space, this could be used as a beach ‘destination’ during harsh winters when everyone craves for a nice day at the beach.

BELOW: Designs I wanted to recreate through ‘Reimagined Space’

WEEK 2

ABOVE: Small balcony at John Ryland Library main stairwell on acetate

SENSE OF SPACE RESEARCH

Manchester has a lot of interesting places to take inspiration from and sketch. From the Architectural walk, I selected the John Ryland’s Library to challenge myself since I’m unfamiliar with drawing intricate traditional interiors. I have previously visited majority of the locations I selected to draw, hence I decided to use those spaces because their interior style and atmosphere were intriguing for me. The three most prominent spaces I chose were The John Rylands Library, The Refuge and Mackie Mayor.

Instead of focusing on a singular perspective in the space, I decided to incorporate elements within the space that I thought contributed equally towards the visual spatial effect. For instance, at The Refuge, the traditional Victorian style of tiles beautifully bring the intricate details in the sculptural motifs and pillars in the entrance chambers. Similarly the perspicacious modern interventions within the space coexist with the old interior style quite harmoniously which show good execution of design thinking.

Another such space that stood out when analysed carefully was Mackie Mayor. The delicate metal work on the pillars and ceiling is a one of a kind space where the busy environment of the space meets the quiet elegance of the interior frame. Parts of the space are reminiscent of heavy industrial spaces and that was what I tried to capture in a few of my sketches of this spaces. I think the space itself a bold statement, so I decided to try and replicate that statement.

SENSE OF SPACE

ABOVE: The Refuge bar space

Selecting an interior space for the perspective sketch was a tie between The Refuge and Mackie Mayor. I ended up choosing The Refuge as I found the space to have more potential as a unique space. Mackie Mayor in itself is a stunning interior space which for me wouldn’t have as much flexibility since I really liked framework of the space.

WEEK 1: Architectural Walk

The history of the Manchester Central Library from when it was first built up to its recent renovation intrigued me. What I really admired about the building was how the architects and interior designers involved in the renovation managed to beautifully morph the old architecture with its modern half without letting the either overpower the whole design. The conjoining entrance shared between the Town Hall and the library manages to capture the curvature between the two structures elongating one’s vision and combined with the surrealist style of the ceiling , creates a unique facade for the eye.

Moving onto the John Rylands Library, the renovated entrance to the library is an intelligent execution of spatial thinking. The conjugation between the clean white walls and original brick work shows how a good design does justice to a building. The library itself is a stunning Neo-gothic & late - Victorian space that speaks for itself; for me the high ceiling and dim lighting recreate how the space must have felt like during its initial days. Personally , I felt Barton Arcade had the same vibe of its rich past, which might possibly be affected by the time of visit.

Overall what I took from this walk was how these historically, socially as well as politically significant places have adapted to modern times. It shows how buildings outlive their purpose and embrace the new responsibilities they are given.

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