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School of Design

The School of Design Postgraduate Showcase features work from programmes in Fashion and Textiles; Graphics, Illustration, Photography; Interior Design and Product Design.

In recent months, we have all been experiencing profound disruption and abrupt intrusions upon our ways of living. It is hard to understate the significance of the moment and uncertainty abounds.

In spite of the dissonance generated by the pandemic, these postgraduate students continued to improvise and create. They worked remotely but maintained a nearness to their respective staff teams and each other. Dispersed studios came together online to engage in dialogue during which all matters were reappraised, contested, unpicked, reassembled. Work was developed and refined during some of the most challenging periods of the emergency. The conclusion of that effort and invention is the work on show here. Presented, now, at a time when the haze is perhaps lifting, what you are able to clearly witness, is testament to the enduring capacity of the imagination to transform, reconnect and make sense of the world around us.

Patrick Macklin

'Transient Bodies' - Kieran Flaherty

A brief introduction to 'Transient Bodies', a behind the scenes look at the design process and how Covid-19 was navigated and its effect on the collection.

Transient Bodies

Undermining perception by obscuring pattern through 3D paper manipulation.

Transient Bodies

Inspired by the tradition of Kimono making, in which rectangular pieces of fabric are cut from a larger length called a 'tanmono', initial silhouette experimentations were conducted on the half-scale mannequin using varying lengths and thicknesses of tracing paper. Hand drawn lines were featured to explore moiré-inspired textile designs on transparent materials, being overlayed to create depth and obstruction.

Transient Bodies

Translating my textile work into 3D forms, I took inspiration from the artist Richard Sweeney and his work creating fluid structures from paper. The resulting paper forms will be used to help influence silhouette and possible textile designs

Transient Bodies

Close up details of fluid paper 3D forms for use as 2D textile research

Transient Bodies

Fluid structures envelope the stand, swirling around the figure, obscuring the body and flowing into each other to produce a new form.

Transient Bodies

Fluid paper forms suspended in motion.

Transient Bodies

Fabricated materials generated to accommodate the use of laser technology as a way of incorporating stretch whilst also maintaining a lightweight, wearable quality

Transient Bodies

Hand drawn lines are translated into a repeating linear motif which are then laser cut, with the graduating pattern distorting the body's form.

Transient Bodies

Exploring the reciprocal relationship between the textile and silhouette and how each influences the other.

Transient Bodies

Two-dimensional patterns are laser cut to produce flexile, three-dimensional materials which encompass and adapt to the shape of the wearer.

Transient Bodies

Utilising previous fluid paper structures as a guide, the pattern is manipulated into varying forms, transforming the three-dimensional textile structures generated when draped and worn.

Transient Bodies

Referring to the 'tanmono' and Kimono style of pattern cutting, double-sided squares of fabric were strategically cut to incorporate pattern, enhance malleability and produce a colourful aftereffect when in motion.

Transient Bodies

Laser cut wave patterns are strategically manipulated to follow new paths along the body, cascading naturally downward and obscuring the figure with pattern and shifts of colour.

Transient Bodies

Laser cut waves of fabric obstruct the body, revealing glimpses of the figure through moving shifts of colour.

Transient Bodies

Over 2000 individual laser cut lines are assembled to incorporate stretch and produce an aftereffect optical illusion - with lines shifting through patterns and colour faster than the eye can track.

Transient Bodies

Harmonic waves of blue graduate into vibrant red and encompass the stand.

Transient Bodies

Laser cut, reversible material developed to produce aftereffect optical phenomenon whilst in motion, obscuring the body with distorted pattern and shifting colour.

Transient Bodies

Combining laser cut materials and fluid forms to create dynamic silhouette explorations.

Transient Bodies

'Transient Bodies' collection final line up.

Qi Sun portflio


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QIUHAN WANG1

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QIUHANWANG

QIUHANWANG

10-b

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56-b

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55-b

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54-b

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53-b

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53-a

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50-b

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23-a

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22-b

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22-a

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21-b

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Mood board

Drawing

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Frame work

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Final Collection 1

Final Collection 2

Final Collection 3

Final Collection 4

Final Collection 5

Design Sheet


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Fabric Samples


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Outcome Simulation


Continue Reading Outcome Simulation

Yasmine Amani 2020 Degree Show

Behind the scenes and introduction to textile artist Yasmine Amani and her Masters Project.

chicken drawing 3

chickens research drawing

research: chicken details

research feather drawing detail

chicken research drawing2

chicken research drawing 3

Feather Research Detail

Textile ribbon detail

IMG_3592

Textile Visualisation

Textile Feather Detail

textile visualisation2

Textile detail 2

textile sample

Silhouette Lineup

design sheet

A Microworld: an Ornamental Filament Contaminates the Surface

Poster and publication realised as the outcome for the last project related to moulds and science. The whole project can be seen as a metaphor for the moulds’ growth. The aim of the project is to make people look at moulds not just as waste, but as the natural and organic form of art they are. The poster is made of satin and there is a central embroidery, hand made. The publication is inspired by laboratory notebook, pieces of record every researcher and scientist write while experimenting. The booklet shows how the fake embroidered moulds grew on satin as if they were real and alive.

Daily Compulsions. The Dialogue Between Flatmates

Publication about the designer and her flatmate F's most personal behaviours, habits, and daily life obsessions. The book describes these private moments through pictures and small texts, written by the graphic designer and her flatmate. The publication is divided into three part: the first one analyses F’s obsessions, the middle one shows the apartment they shared, and the last one is about Giorgia’s own daily rituals.

Anonymous Objects Series

A Series of three small publications. The project aims to rethink about three common objects: receipts, price tags, and transportation tickets by scanning, cutting and using parts of them to create something meaningful and new. The project focuses on letters, numbers, and glyphs’ manipulation which are present on the printed objects themselves.

THE AMAZON IS ON FIRE

Publication Size 9.9mm * 21mm ,Using marks left by the fire as a visual language

THE CHINESE VERSION

Statistics show that in 2018, Hong Kong and China accounted for the first and second-largest share of Brazilian beef exports, accounting for 24% and 19% respectively. In this context, I think it is necessary to make the Chinese version of The Amazon is On Fire. Revision of The Chinese version on Layout Chinese fonts are more complex than English fonts, so the font size has been changed change the font from 11PT to 12PT for ease of reading.

“森” is Chinese. It means forest. “森” is made by three characters----” 木”. ” 木” means trees. In ancient times, the creator put three characters of the tree together and turn to a character that is forest.

Confronting the veils

Due to the COVID-19 global pandemic, my whole world was turned upside down and like most people, I have had to work remotely and live largely in isolation for several months. For photographers stuck inside, especially for photographers interested in fashion, like me, this was a big problem in that, I would have to completely reframe my practice. Initially, I was very anxious and nervous, I was so confused and I couldn’t imagine how I could create something related to fashion within my tiny room. I was overwhelmed by the situation and it seemed impossible for me to make work without a studio and photography equipment like a tripod and lighting. I did not have anyone to collaborate with, no models, makeup artists or stylists. I needed to find a way to make work and find a way to use myself as a model and the subject of my photographs. Whilst I am not a shy person, I’m not an extrovert either - my preference is to be behind the camera not in front of it. I needed to overcome my fears and put my insecurities to one side and find a way forward. As I made my first tentative steps towards self-portraiture, I began to slowly find an effective way of working. My room became my stage and my studio and I became a performer. I adopted a persona that explored different characters that in turn became the subject of my photographs. I found a way to embrace my fears, anxiety and loneliness and absorb the psychological pressure and position it within my image making. I used my body with domestic objects as props, appendages and decoration to express my inner struggle with self-isolation, social distancing and the wider world of lockdown. I played with themes associated with, barriers, distance separation and behind the masks and veils, I found a way to make work and in my own way confront the challenges of this global pandemic.

Confronting the veils

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Don't Forget There's More

A countries development and welfare are being evaluated with only one indicator - the Gross Domestic Product (GDP). The only way for a company to be successful and rewarded is following one goal - Profit. The purpose of the economy to serve people‘s welfare is being overshadowed by growth. The chase after this has in fact helped society to overcome many challenges but it has also resulted in the climate crisis, the largest gap between rich and poor that ever existed, and other impasses; and is now more than obsolete. Redefining success and specifying indicators that reflect the real welfare of our system is crucial for shifting the economy away from the chase that fuels the climate crisis and is not serving a long-term vision. That requires zooming out, turning around, and internalising that, where now is only one way, there lie many other and better possibilities. “Don’t Forget, There’s More” aims to create a sense of these turnarounds, using metaphors in order to help the growth of attachment towards the greatness of change and possibilities.

Reshaping Realities

>For Growing Welfare<

Reshaping Realities also addresses the need for different goals in our economic system. Getting there requires rethinking the entire system and shifting perspectives away from the known and towards imagination. It investigates those possibilities by modifying ordinary objects into a new purpose and meaning.

>For Approaching Goals Differently<

>For Taking Care Of Every Sector<

>For Measuring What Counts<

>For Looking Beyond<

An Endless Line Is A Circle, Not A Line

Since the days of industrialisation our economy model has hardly changed: it still follows the pattern “take-make-dispose” - a linear model of resource consumption. In the face of the climate crisis, fired by the current culture of consumerism, it is hard to believe that this is evolving only very slowly. In order to produce products and services environmentally friendly the “take”-“dispose” simply have to be connected - creating a circular economy. It replaces the “end-of-life” concept with regeneration and restoration, staying within planetary boundaries. An Endless Line Is A Circle, Not A Line explores the concept of the circular economy, the vision of transformation, circularity, and energy flow in abstract drawings.

Exploration Imagination

With these experimental drypoint etchings I explored the possibilities of imagination that lies within the creation of new forms, landscapes and atmospheres.

Milo's Discovery

This picture book for children was a project I pursued on the side, just for the sake of enjoying illustration. The pictures shown here are a selection of more. In collaboration with Katherine Wright (Text).

II. in touch

A found footage film. Composed of videos stored in my phone library of skin-to-skin contact in the time before social distancing and Covid-19 and interviews with people in different places on their lives during the pandemic, talking about touch - or lack thereof. Music by Nicolo Traini and Toby Withers.

III. where the light comes in

Two weeks in four walls, with only light for company.

On return to London just before lockdown, I self-isolated to protect the vulnerable people in my home - down the road from King’s College Hospital. Light became a marker of time: sun streaks punctuated the day, while the blue of ambulances streamed in at night. I made a ritual of photographing where light fell in the morning. This culminated in an A4 publication.

IV. INSOMNIA

An experimental short film by Nina Klaff and Pauline Levy. Voiceover: Nina Klaff. Music: Jamiro den Enting.

V. STAGED: A moving portrait

A moving portrait of a father, by his daughter. Starring Jack Klaff as himself and others. With music by Toby Withers and Vivaldi.

Footage | age of the foot

The publication Footage | age of the foot offers an introduction to the world of feet through the contributors’ and my interpretation – which is a limited interpretation that results from choices I’ve made, and discussions I’ve had, and could be supplemented in the future. Serious articles balance absurd and entertaining visual contents. They are ordered through objects feet-related, sorted alphabetically. This experimental magazine uses different visual languages and plays alternatively with posters’ layout and newspapers’ layout. To “jump” in this world of feet, visit the website https://footageageofthefoot.cargo.site/ or order a copy of the magazine by dropping me an email to plev00.pro@gmail.com.

Details

Website

Visit the website: https://footageageofthefoot.cargo.site/

Gathering tomorrow

After months of lockdown and uncertainty for the future, the idea of gathering is one of the main issue. “How are we experiencing movement restriction, social distancing, isolation, slowness, quietness, emptiness, and fear? What's our take on human-nature relationship? What philosophical insights can we draw from this peculiar moment in our modern history?” (from A Dance Mag). The performance Gathering tomorrow focuses on the atmosphere of a gathering after lockdown, on the idea of being allowed to stand, to be on our feet to meet and dance again. Above, a score of the dance is presented as a baseline before collaborating with dancers. The publication shows some visual references and some drawings of movements to understand the framework of the dance, split into 5 parts. This interactive zine is meant to be used by dancers who can write and draw on it to add any relevant suggestion. In the future, the performance will be filmed to create a video as a final outcome.

Insomnia

An experimental short film by Nina Klaff and Pauline Levy. Voiceover: Nina Klaff. Music: Jamiro den Enting.

Pictionary during isolation

A poster made with some drawings from Skribbl, an online Pictionary, played during isolation. In collaboration with Nina Klaff and Giorgia Tonolo.

Pause or pay campaign

Selected works

"Unsexing" edition

This booklet was made during stage 3, on female artistes who were pushed aside or erased from art history for many years. This booklet ask also the questions on how should we give these artists justice without marginalises, pigeon holes and isolates them from movements and influences. As for the title, it's a word from a quote from an art critic on women artistes, saying that becoming an artist would unsex women. The wire'O binding was chosen to highlight that the booklet isn't finished because the conversation and these issus are not.

Untitled collection

This collection of zine is on the theme “censorship”. It's called the “Untitled collection”, reflecting on erased content. The first publication would tackles censorship in Hollywood cinema, the Hays code, which were rules on what to show in movies that studios had to follow and what were its effects on cinema.

Accompanied with this publication, would be a small index on marketing and branding of products in movies.The ideas of this small index was tackle, products placements in the movie industrie. Products placements was encouraged in films, it could help considerably, the sales of an items, but the products must be seen in a positive light. This small edition pokes fun of about this and the ways it is presented to us. It shows photo montages of famous movies scenes and integrates random products.

12 edition workshop

During a workshop, the students had to work on a existing object 12 times or more. The project was to intervene on torn posters around the city of Glasgow. Animation was chosen as the main medium of intervention, to complete the missing parts of these posters.

A page instagram was created with the images of different posters with the geographical locations so people can find the poster and see the evolution of time of these objects. Instagram page : https://www.instagram.com/poster_hunt/

WALLPAPER PROJECT ON ABANDONED BUILDINGS

One of her main studio project, was on “abandoned places” around in Glasgow. She used wallpaper and bichromatic visuals to create a pattern of their history inspired by the Toile-de-Jouy motifs. The red represents the past and the blue the current state. You only have to play with the colour acetate papers to see the different patterns.

Accompanied by this is a small booklet where you will find the chronological history of the building. In this example, the building in question is St Peter Seminary.

There will a possible continuation on the project. Mainly focusing on Lennox Castle and other vacated spaces.

Illustrations on the theme disconnected

The idea of these illustrations was to use the space occupied during quarantine, to illustrate our state of mind verse reality outside of our safety bubble.It approaches different forms of disconnections: The first being sound, we are describing physically a natural landscape which gives the illusion of a holiday on what seems to be a sort of island. Until a form of rupture with the sound of ambulance and the evocation of the impact of the COVID-19 virus. We cannot see anything, we can only hear and imagine. The images plays also a key role in the narration, it shows our daily routine, but something seems off and the text highlight this with the sounds described the images and the sounds are telling to different stories.

We are all the media: Covid-19 Calendar

The cover and the monthly chapter

Infodemic caused by COVID-19 makes Renyu want to explore the role of individual media in misinformation. In her mind, each of us is a media with signal, and we have the ability and obligation to be responsible for the process of information dissemination. 

Covid-19 Calendar

10.02.2020: Garlic-save-life day

Drawing lessons from the concept that the Chinese traditional calendar records the good and bad luck of every day, Renyu puts the real part and the false part of the news as comparison objects in this calendar. And make them overlap with each other, showing their delicate relationship in the process of communication.

Covid-19 Calendar

09.04.2020: 5G-cause-virus day

The calendar form can harmoniously record every day about the existence of fake news, and at the same time, it combines fake news images produced by collage technique to enlarge the absurd content of fake news for the audience as much as possible.

Covid-19 Calendar

Using irony to restore and record some ridiculous ideas and absurd things people have done during this period.

Covid-19 Calendar

Covid-19 Calendar

Online Calendar

Covid-19 Calendar and Calendar Goggles

With PVC glasses in red, audience can only see the part of black text. The text is clear. It also means that when people view information, they should think and distinguish between true and false.

Covid-19 calendar

The Plastic bag

This calendar is more like a documentary, it needs to be stored and sealed just like ordinary important documents. Renyu put this calendar in a sealed bag, which is transparent, so as to convey the concept that this calendar needs to be used in another way.

Covid-19 Calendar

10.03.2020: Mosquito-transmit-virus day

The booklet: 31 days in quarantine

For everyone, covid-19 period is an unforgettable historical memory, and everyone has their own memories. Renyu wants to record my own time in an interesting way. Content, it is about some life experience and feeling changes.

31 days in quarantine

06.07.2020: The day before the deadline

Use plane to reinforce the content, it won’t collide with the drawn lines, but also bring a sense of volume. On the basis of plane, some texts and colors are added.

31 days in quarantine

06.04.2020: The day i store food

Using any combination of these three elements to match different paintings. The visual effects produced in this way will not be in the same way, but in a unified but dissimilar form.

31 days in quarantine

31 days in quarantine

The cover and the binding

31 days in quarantine

20.04.2020: The day I comfort my friend

street dog in Imsouane, Morocco

Imsouane Village

Ims'one Project Shelter

Fran and her dog Bosco

PLEASE START WORKING

Procrastination has a significant impact on everyone's life. The comic book shows what procrastinator's life looks like, and use an ironic, humorous, and surreal way to present. Hoping people who read this comic book laugh and think not just themselves faced this problem and have a strong sense of identity instead of struggling in this situation.

70-80-90

70-90 means 1970s to the 1990s in China. In this project, I chose an organization or individual to represent each decade; in the 1970s I chose the The No Name Painting Association, in the 1980s I chose Xiamen Dada group, and in the 1990s I chose Wang Gongxin and his wife to represent Chinese experimental art. The purpose of this project is to be today's Chinese artists, we need to look back at how the artists of the last century survived in a harsher environment, and how they met their artistic value in the rapidly changing social background.


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70-90/Full version video

Films in 1994

This book contains all the movies released in 1994. The concept of this project is very simple: Turn the virtual information on the Internet into material in physical form to oppose the trend of digitization of books and record the movie history.

Films in 1994-1

Films in 1994-2

Films in 1994/video

Golden era 1 - “celebration original”

The main theme of the whole project is that I want to reproduce the golden age of Chinese contemporary art at the end of last century and let people reflect on the artistic environment in China today. Under this general concept, there are three paintings created from different background events. The first one came from the movie , the second came from the protest by Chinese artists in 1979, and the third came from the burning of works by Xiamen Dada group. Each series will use different methods to express the same thing.

Golden era 1 -"political pop celebration"

This work is based on the original celebration, using the style of the most popular style -political pop in China in the 1980s.

Golden era 1 -"cartoon celebration"

Cartoonism quickly entered China in 1990s, and Keith Haring's style and works were particularly prominent. So I used his style to adapt the original work.

Golden era 2 - "want art free"

Although traditional Chinese painting has gradually declined since the 1990s, there are still artists such as Xu Bing and Gu Wenda who re-use ink elements to create and blend with Western modern art. This work was completed with this creative method. "Want art free" was completed in 1979 when Chinese artists protested because of the cancellation of the exhibition. I wanted to reproduce this with new forms of ink and abstract images; in order to warn contemporary artists not to be stuck by the market and money.

Golden era 2 - Cartoon style "want art free"

Golden era 3 - "Fire"

Similarly, this work is also based on a historical event. In the 1986, China’s former art group Xiamen Dada burned its works in the square to protest against the art environment where there was no art gallery or government support at that time. This work uses cynical realism in style, and it was first seen in 1991 by artist Fang lijun.

Golden era 3 - "Fire"

Cynical realism and Gu wenda's new ink style

Inner City

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Inner City

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Inner City

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INNER CITY

600X400MM

Inner City

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Inner City

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NORMAL

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The "New Interiors"

Introduction

The research aims to highlight the importance as well as the direct impact interiors have on its users and their well-being/emotional health. It further wants to generate awareness about the urgency for design reforms that focus on gender-neutral spaces and not just male v/s female aspects. Thus, what the world of design needs right now is a sensitive design approach, both in terms of gender sensitivity and emotional sensitivity. It is now time to rid the world of mindless designs and create more approachable experiences that all types of user can encounter. The approach used to uncover the dynamics of a gender-balanced space that focuses on creating “positive” user-experience was one that revolved around decoding and disintegrating each element of a space in order to understand their true use, importance and original intent. The investigation entailed interpreting the psychology of users and how they perceive a “domestic” interior space through a thorough process of decoding each element that is considered neutral or biased. This included taking into account all aspects ranging from colour theory, spatial distribution to the amount of weightage given to each area as well as their lighting and materials. It further meant exploring the characteristics of a space that provoke emotions i.e, the ability of different materials/textures/patterns to generate emotions and their juxtaposition with spatial features of light/ventilation/openings etc.

Conceptualisation

Conceptual model 1 process images

The conceptualisation process began with first using the elements that through the previous stages of the research have been proven to bring neutrality or harmony into a space. Here, Hannah Rozenberg’s Building Without A Bias alogorithm has been used. Elements like - ARCHES, which is considered a strong element of stability and is also seen as gender-neutral in its form. SPIRAL STAIRCASE, to tone down the bulkiness of other regular staircases and add “curves” to the rigid fabric. WINDOW, for natural light of course and also it acts as blurring agent between outdoors and indoors. There is a metaphorical use of THE LAMP, as from the previous study in in PART 2 of literature review, I quoted J.Gibbs “If positioning of a lamp in a room is the idea, consideration needs to be given not only to the lamp but to all the specifications including the type, size, colour and wattage of the bulbs; the size, shape, material, and colour of the lampshade; the colour of the lamp lining; and the color of the flex.”

Conceptualisation

RENDER for Conceptual Model 1

The use of black and white materials for the models was to emphasise the gender-neutral aspect as these two colours are considered absolute and balanced in every way. The next step was to convert the abstract model into a more visual render that could help in envisioning the next stage of conceptualisation. The main idea here on the left was to “bring the outside indoors” and blur the idea of interior and exterior to some extent. This was done for the following reasons: 1. Metaphorically, if the outside world is for men and the indoors for women, what would happen if one can’t differentiate between the two? 2. It has been scientifically proven by various psychologists and designers that the closer you are to nature, the happier you will be. This raises the question of what would happen if the blurring of these two mediums leads to a more positive user-experience and a healthier mental state for the ones occupying this space? Thus, deeply inspired by these questions, the next few steps of conceptualisation involved further exploring the possibility of this idea and converting them into visual renders.

Conceptualisation

Conceptual Model 2

This iteration further explores the idea of merging the two mediums of design, that is, exteriors and interiors. There has been visible experimentation with the roof, materials and textures in this particular idea. The main intention behind using an irregular curved roof was to bring in the required “harmony” through a prominent form. Mostly the “balancing” both in terms of gender and emotions is achieved through changes in colour. However, this iteration explores different forms juxtaposed with contrasting textures to propose that same “harmony” through other aspects of design. The bold textures might be alarming to some but when viewed as a whole, the bold forms tone down the roughness of the textures. Overall, it is a play of rough textures with bold soft forms trying to strike a balance within a domestic setting. Again, the idea of merging the exteriors and interiors is highlighted to emphasise the concept of blurring mediums. The LAMP is again being used as a metaphor in this case.

Conceptualisation

Conceptual Model 3

This stage shows how by treating elements as seperate individual identities, it is possible to create a totally new dimension of a space that is neither specifically an interior space nor is specifically an exterior space. The dynamics are completely changed when interior elements such as the domestic furniture setting is used outside. This is just a glimpse of what could be if the idea of merging the two mediums is explored further.

Final Conceptualisation

Though the final outcome is still conceptual to some extent, the drawings and visuals are made on the basis of how it could practically be possible applying user discretion wherever required. The elements used in these descriptive floor plans can easily be applied to any other model to make it well-balanced in all & any respect.

From gender neutral elements obtained through previous stages and Hannah Rozenberg’s algorithm, to the concepts of Vastu and Feng-shui, this model mostly complies with all the “rules” uncovered so far. This design acts as a “twist” on a conventional domestic space and questions the names, functions, layouts and materials we usually assign to different parts of it. It is a mix of an abstract yet a practical approach and can easily be applied to any new setting to make it neutral and well-balanced in all forms.

There are total 6 levels and each of them represent a different domestic area. Each level has a different “function” but is also open to user discretion. The main idea of merging the exteriors and interiors remains the same while also making it “gender-neutral” & “positive” for enhanced user-experiences. There is a heavy use of arches (which is considered neutral) and materials like glass and concrete and enough openings (to balance out the bulkiness of the structure give the “merging with the outside” feeling to the users).

The Axo

This diagram highlights each level individually along with the different types of staircases being used on every floor level. Not all staircase are rigid while all are not curved either. There is a significant amount of glass being used on every level - firstly because it brings in vast amount of natural light (considered good for the well-being of users) and also supports the concept of merging the interior & exteriors. Secondly, it is being juxtaposed with the rough textures of concrete and stones to form visual harmony within the space. According to Vastu, the entrance should be in North while the bedroom should always be in South and the study in the West. According to Feng Shui, for a living room, one can use a mix of metal colors such as grey, white, silver, gold etc.

The Centre

Decoding the elements

-BLATANT USE OF ARCHES: This is done in order to make firstly involve elements that are seen as gender neutral. Secondly, they act as see-through barriers between the outside &inside thereby, merging the two mediums.Thirdly, provide freshness and make the space airy. -A bold chandelier highlights the delicate nature of the domestic setting while the infusion of rough textures seem to balance out the elements. -Use of a strong pattern to dull down the roughness of concrete - Black & white to highlight gender neutral colours. According to FENGSHUIPUNDIT, Since north is water zone and water element is represented by blue and black colors, hence favorable colors for this side are blue and black. -Warm colour tone to maintain earthiness and positivity of the space. -Pink to add a tinge of brightness while also using white to highlight the forms. -Use of DRACAENA REFLEXA: To purify the air quality and provide relaxation. -Use of STRELITZIA NICOLIA OR WILD BANANA: One of the most important plants for health in general as produces O2 and stimulates “happy hormones”.

The "Living Room"

Decoding the elements

According to FENGSHUIPUNDIT, to enhance good metal energy, one should use earthen colors such as brown, yellow or pink shades. Use of EARTHY AND “NEUTRAL” TONES FOR MAINTAINING THE BALANCE: Use of rough textures along with softness of pink tones can be seen to balance the yin-yang energy. AMALGAMATION OF TEXTURES AND FORMS AND MATERIALS: The boldness of leather, roughness of wall textures, NEUTRAL colours combined with soft angles or curves of not just the furniture but the space in general (curved glass wall) make a somewhat BALANCED space. Use of DRACAENA REFLEXA: To purify the air quality and provide relaxation. Use of STRELITZIA NICOLIA OR WILD BANANA: One of the most important plants for health in general as produces O2 and stimulates “happy hormones”.

The Spiral Staircase

Decoding

The rugged textures of the concrete and the bulkiness of the whole core structure is balanced out by one simple curved form. This spiral staircase is an example of how a form can change or dull down the natural roughness of even raw concrete. It shows how when form is used along with a play of textures, it can all be balanced-out.

View from level 3

View from the "bedroom"

Sectional Elevation 1

Sectional Elevation 2

Level 1 Descriptive Floor Plan

Level 2 Descriptive Floor Plan

Level 3 Descriptive Floor Plan

Level 4 Descriptive Floor Plan

Level 5 Descriptive Floor Plan

Level 6 Descriptive Floor Plan

Sectional view AA'

Sectional View BB'

Warning

Daytime

The mysterious path of experiencing the darkest part of our lives and its very first step. Viewers have the opportunity to go towards their traumas caused by abuse through the place history of which was full of violence

Night time

The view of the church at night with the entire space being covered with fog. This is the very beginning of the path of viewers where they decide what they want to do.

Material day

The ball in daytime, illustrates the way we can (can't) see traumas when we think about them

Material night

The ball is illuminated by spotlights and reveals the inside of it - toxic smoke that is a metaphor of traumas and their destructive nature

Extension Structure Typology

The expanded structural typology was derived from the architectural concept of space expansion: Parasitic Architecture. Through the case study, spatial expansion methods were classified by type. Among the types, folding, modular and sliding are usually attached to the facade using wood or concrete, expanding the space in a rigid and robust way/manner, but it was difficult to meet the definition of 'Flexibility'. This conclusion led the way to explore the inflatable structure.

Conceptual Collage

The collage abstractly shows design idea about space expansion during a pandemic. The concept of the expansion proposes sets of direction with what architectural elements to use and how to expand them presented an important direction for conclusions. In response to this, a flexible housing by expanding the space through an inflatable structure using an architectural element called a window by synthesizing previous studies. There are many architectural elements such as chimneys, pipes, and windows, but considering that there are differences in architectural elements according to various cultures and lifestyles, expansion through the largest common elements was pursued regardless of these differences. The window is another door that connects the outside and the inside and is an essential element that exists in the residential space. The inflatable structure was also decided in that it could be used in a variety of residential spaces and situations regardless of this.

Exploded Axonometric

Exploded axonometric is an representation of how the structure is attached to a building through a window. Inflatable bubbles require several steps to attach to the building. First, the Window Frames Holder can be secured to the window frame using a screw and a screwdriver to put the pole on the holder. These fixed structures are connected with the inflatable structure through the string. The support is connected to a pole fixed to the window frame to minimize movement of the bubble. The bubble is made for 1-2 people and the maximum weight is 90kg. Furthermore, for use in various situations and groups, the windows have zippers to connect with other structures.

System Diagram

The system describes how Inflatable Structure receives power to build the space. Helium is lighter than oxygen, so it can give more power to support the weight more than oxygen. Also, using the principle of an electric air pump, helium pump in the room transmits energy to the structure outside through the tube. The bubble has a double structure that prevents helium from entering the occupied space.

Helium Circulation System Diagram

A system of helium circulation is applied to prevent releasing helium from the structure over time. Applying the same principle of an air pump, it is a system that continues to circulate as helium inflating from one tube and helium deflating from the other.

Scenario Illustration

This illustration is expressed by imagining how people use the bubbles and how they can create new way of communication in their life. People can read or meditate in a quiet bubble and feel like away from home for a while. Children can sometimes bring their friends and play like their own den. They can also use connecting zipper to play with their neighbors. In the park, people can safely enjoy their time being outside by using the bubble as a tent to get their own space.

Collage

Collages are a representation of the bubbles used in various types of buildings, such as housing, flat, villa, and high-rise. It effectively shows the flexible spaces can be used in various places and situations. In the collages, you also can find connected the bubbles using the connecting zipper.

Drawing

Further Suggestion_User Guide

The images represent the user guide included in the bubble kit. A kit like IKEA's furniture is considered as a further suggestion for the inflatable bubble to make it easier for more people to use this structure. This practical thinking has led the way to imagine other parts such as a step stool that can be used to enter the bubble.

Egyptian Halls/ Ground floor floorplan

The project aims to turn back the Egyptian Halls into a place for people to work, learn and make by transforming the building into workspaces for makers engaged in redefining their creative practices from the perspective of sustainability. The active ground floor will house a ceramicist studio and shop, a cafe and a sustainable fabric shop. The workshops and open studios will be located on the upper floors of the building.

Material bank

The interiors of the building, which had had layers of alterations over time, were deconstructed in order to provide a material bank to inform and generate the new interiors. The positive deconstruction process redefines waste construction materials as valuable material resources. The drawing expresses the elements that were dismantled and reused within the new layout.

Section

Ground floor: Ceramicist in residence workshop and studio/ Cafe/Sustainable fabric shop. 1st floor: Textile workshops. 2nd floor: Printmaking workshops. 3rd: Ceramics

Axonometric view of the ground floor

Axonometric view of the ground floor shops. From left to right: Ceramicist's shop and studio/ Cafe/ Sustainable fabric shop. All shops have access to the back lane to make it into an active lane and allow spaces for community workshops within the different shops.

Café

Perspective view of the ground floor café.

Ceramicist in residence workshop

Perspective view of the ceramicist in residence workshop on the ground floor.

Sustainable fabric shop

Perspective view of the ground floor fabric shop.

Axonometric view of the textiles studios

Axonometric view of the textiles studios located on the 1st floor. There is a weaving studio, an embroidery room, fashion studios, print room with exposing and drying area, a sustainable material research room and a botanical dye lab. There is also a common open space for talks, open studios for community learning and a material library for research and study.

Detailed axonometric of the textile studios

The interior was designed to be flexible, adaptable to changes and potentially dismantable in the future so that it is truly sustainable. Partitions that were added are made of wood so that they are non-intrusive (highlighted in green). Some partitions were repurposed from the previous layout (highlighted in blue) to reduce waste materials. Finally the bridge partition acts as a bridge between studios, expression of the collaborative approach encouraged within the studios.

Exploded Axonometric

Translation of Jane Jacobs four methodologies into design

Public Space - Floor 12

Spa Area

Residential Floor - Floor 13

Residential Space

Public Floor - Floor 11

Restaurant Area

Floor Plan of Public Space - Floor 11

Floor plan of Residential Space - Floor 13

Levelling The High-Rise. Research report and portfolio


Continue Reading Levelling The High-Rise. Research report and portfolio

FLEXIBLE HOSPITAL

FLEXIBLE HOSPITAL

Somatic Experience, Room 1

Somatic Experience Therapy starts with symptoms of trauma which are anger, fear, anxiety or physical problems.

Once entering the room people are asked how they are feeling and will be provided with access through different entry ways accordingly. People who feel angry and frustrated are provided with an entry point where they have to squeeze through to allow a release of some of their anger physically. People who feel scared and anxious are provided with an entry point where they are met with turnstile to help them push through their fears with guidance. The third and final point of entry is for people who have been affected physically by trauma by having no physical obstruction in their way to enter. This system of access is repeated at the exit of the room and this is so that people can be aware and considerate of their feelings before and after the journey through this room.

Somatic Experience, Room 1

The first stage in the Somatic experience is finding a comfort zone. These digital panels change colours in a therapeutic manner to create a calming and comforting effect and with the distraction of this space, people should be able to ease and clear their minds. Bio-plastic tiles can be collected here and this tile will be carried through the journey after which the visitors may mould it however they wish to then leave behind in the building’s atrium in order to share their personal stories and feelings with others.

Somatic Experience, Room 1

Somatic Experience, Room 1

Somatic Experience, Room 1

Somatic Experience, Room 1

The second stage in the Somatic Experience is for people to identify and explore the effects of the traumatic event. This can be a difficult process and therefore a personal space is provided where people can write about their traumatic experiences. It is an important step to talk about what is hurting to be able to take the experience as a lesson and to be able to read what other people have experienced can help others to open up about their own experiences.

Somatic Experience, Room 1

Somatic Experience, Room 1

The final stage in Somatic experience is to identify how the body needs to respond and to find a natural and safe way to release negative energy. The back and forth motion of a swing can help people to calm down while the swinging motion can also be a physical release of energy.

Cognitive Behaviour, Room 2

Cognitive Behaviour Therapy is a cycle of emotions, thoughts and behaviours. This means that what we feel affects how we think and act. What we think affects how we feel and act. And what we do affects how we think and feel.

When entering this room, people will find themselves in a cage structure. The aim of this structure is to symbolise a beautiful prison. This is because a place of withdrawal is often the easiest thing to do for people who have experienced a traumatic event and although it is beautiful, is it also a prison for emotions. At this stage people should be able to recognise that coming out of their beautiful prison is a step they have to take as they are in control to leave and connect with others about their emotions and continue their journey to resilience. At the entrance, people are also presented with the end of a slide which happens to be the end of the journey around this room. This is because the end of the journey around the room goes back to the beautiful prison, symbolising just how easy it is to fall back into that trap and thus continuing the cycle of the therapy.

Cognitive Behaviour, Room 2

The next part of the room is where people are given a choice of creating confusion or order. Two strips of lights represent order as the lights are aligned perfectly meanwhile the middle strip of lights are controlled by the visitors and how they choose to connect them. The choice to connect the lights neatly or perhaps mix them up is a symbol of the next step after coming out of their beautiful prison of withdrawal, whereby the choices people could make is between continuing a troubled life not focusing on their mental health needs after a traumatic event or the choice to create order in their life and seek out professional help. Using the plastic bio-plastic tiles collected in room one, the next stage is for each individual to mould their tile in any way they wish in the craft corner. This could be a representation of their feelings, experiences or something more personal such as their palm or finger prints.

Cognitive Behaviour, Room 2

Continuing the journey throughout room two, people are presented with a set of stairs. Both the stairs and the upper level of room two are made out of a metal mesh that can be uncomfortable for people without shoes (as this is something that had to be removed on arrival). This metal mesh walkway is to control the way people move through this level as their steps are likely to be slow and steady. This is to symbolise that making this journey to resilience can be quite difficult at times and cannot be rushed.

Cognitive Behaviour, Room 2

Reflection Bubble Space

The second floor atrium space is where people have the opportunity to leave their personalised bio-plastic tiles. Representing each individual taking the necessary steps to a happier life. This space also serves as a waiting area as this building also provides one on one and group therapy sessions for those who feel ready to seek professional help. Also found in the atrium of the building, the bubble space designed to be used as a space for personal reflection. Entry can be made from the ground floor and from the second floor into a spiralling tunnel of bubbles. Within this building, this structured is designed to be permanent however similar structures can be built to be transported to different locations with its simple wooden frame and its deflatable quality to create an awareness of this Therapy centre and its facilities.

Reflection Bubble Space

Section (1) Reflection Bubble Space

Section (2) Rooms 1 and 2

About Pause pod

The starting point of my project is an analysis of isolation and how that can be divided into the perception of isolation and into social isolation. The focus of the thesis will be on the latter aspect and how this affects the mind and body. My interest in this topic started after a few weeks spent in isolation from other people due to the Covid-19 pandemic affecting the world in 2020. Now we find ourselves isolated from our groups of friends, colleagues and family, but thanks to the development of technology, even if we are far apart, we can keep in touch, through calls, messages and video calls. What would happen if all our connections stopped and we found ourselves completely alone ? My research question is: As human beings, can we detach from people, disconnect from our things and stop interacting with our devices just to avoid being by ourselves and our thoughts ? The thesis will have as its main focus a few cases of extreme isolation, whether the subjects were isolated as a lifestyle choice, voluntarily for experimental studies or through enforced isolation. I want to create a new type of space where it is possible to spend a long or short period of time based on the individual being willing to spend time alone, in a space without sunlight but with artificial light, which will eliminate the individual's perception of time.

When I started my research into isolation, my main goal was to look for a positive aspect of solitude, and I came across the research performed by Long and Averill in their article Solitude: An Exploration of Benefits of Being Alone, which examined the advantages of intentional solitude. The article emphasises the fact that reducing interaction between people and their environment and limiting the use of devices and other stimulation can have major benefits, but only when the time spent in solitude is deliberately chosen by the individual. The four benefits listed are: freedom, creativity, intimacy and spirituality. The title of my project is 'About Pause'. The Pause Pod itself was created through the concept of reducing interaction between people and their environment, and reducing stimulation from the outside world. The idea is to take the negative association that we have with solitude and integrate this state of complete isolation into our lives. My intention is to create a place where an individual can unplug from the busy and frenetic time that we are living in, whenever they feel the need to do so. I want to be able to put together all the positive aspects of being isolated and bored and take ad-vantage of them, and maybe even benefit from them.

Technical drawing

The Human Last Resort

It is an existence for people to think about, it is inclusive and an infinite possibility.

Background: This world seems to become a 'reverse zoo'

During the epidemic, animals took to the streets, while humans became ‘trapping animal’

The COVID-19 outbreak has restricted human freedom while giving other animals the opportunity to move more freely. There is a global debate about who should bear the burden of the pandemic. The truth is outbreak of this pandemic ultimately comes from human, from human overuse of the earth's resources. The current life of human not only destroyed the living environment of other species but now, in turn, poses a massive threat to human survival and life. During the epidemic, humans experienced an environment improvement, and the value of a lot of things by humans to rethink in the slow era of reduced consumption. Keeping the planet's ecology sustainable and suitable is the basis for the continued survival of human as a species on the earth. This means that we should rethink our lifestyle, and human needs an environment-friendly lifestyle for future.

Theories

Consumerism first appeared in the 1600s, and it has spread across most countries in the world in the 21st century. Alongside the modernisation of consumerism, it has produced more waste of resources and damages to the ecological system.

The advantages and disadvantages of consumerism are very obvious. However, the contradictions caused by the emergence of consumer attention have not been well solved in the past several hundred years, but also added many new problems, such as the objectification of people, distortion of values, environmental degradation and extinction of species. And this consumerism seems to be an "unstoppable" pattern. Yuval Noah Harari described in Sapiens that if a modern capitalist economy is to survive, it needs more and more production, like a shark that will suffocate if it doesn't swim. And consumerism is the product of sustainable capitalism. Harari calls consumerism a code of ethics that ensures that humans will continue to buy to prevent capitalism from stagnating. I am not against consumption per se, but I am not in favour of consumption as an end or money as a religion. Consumerism seems to have created a bottomless pit that cannot be filled and has no end.

A tipping point for human future

At present, human beings have approached a tipping point that all our choices will lead to a future which has ‘no return’.

Compare With Original Lifestyle

In the research, I have found out that human living experience may not be as good as it was in agricultural times. We always want to find a pathway to pursue a more relaxing life, but this has, instead, brought more difficulties. Comparing these two periods in human history, I have revisited and enjoyed the more natural and friendly nomadic era. In there, money was not the media in trade but Barter, which was the model of social exchange.

Centre change

Since the status of money has leapfrogged from an intermediate, the shape of the entire society has changed unconsciously. Schools and medical classes that were originally in the social centre gradually moved out of the city centre. And the originally social place has gradually become a giant shopping mall with consumption. Therefore, our current social centre has become centred on ‘money’ and ‘right’.

In the new nomadic life system, the barter to be a theme, re-zero the value of money. Here, the four elements that people need most brought back to the core of society. This is a not materialized world, and the values of money no longer bound people in disguise. This social made up of real needs. In this new system, everything is possible, thinking is free, and the meaning of each person's existence is defined by himself.

Nature create vs Human product

Borrowing the elements found in the natural world, the design has adapted sustainable form, materials and structure. This nomadic building design not only to be environmentally friendly but also to decompose pollutants created by humans and purify the environment.

House units plan

The furniture employed in the design has been modular, whose construction has stressed the central areas. The model has been expanded to a broader architectural and urban scale. Examining different scales of spaces, I have wanted to intervene or even break the cycle of consumerism. Everything here is modular, and people can live according to their needs and hobbies.

Modular furniture design

Activities schematic

Here I want to design modular furniture that can combine more daily activities. By studying the scale of the human body, trying to find a suitable height size ratio for design.

Modular furniture arrange

THE SETTING OF THE STORY

People are now aware of the evils of consumerism, but they think their influence is small. (In my questionnaire, two-thirds of people are aware that consumerism leads to a worse living environment for human beings. But most say the effect is minimal.) Later (in 2049), the environment became worse. Instead of being restrained, people at that time consumed the earth's resources in a crazy way. (If a modern capitalist economy is to survive, it must produce more and more, just as a shark, if it does not swim all the time, suffocates.- Sapiens, Yuval Noah Harari) Gradually a group of pioneers appeared, who thought that such consumption and plunder could no longer be done. In their analysis, consumerism is not a sustainable way of life. They abandoned this mode of extreme material life and reentered a new nomadic world. So this little community came into being. It's a barter, education, health, and social community. With the evolution of time, the living environment of cities becomes worse and worse, and more and more people realize that maybe they should change their living mode. People are here to discuss life, to discuss ideas, to build a new perfect world system. It's about thinking, exploring and experimenting with new forms of life. It is not known whether this would last long, but people began to think about a more harmonious model of man and nature.

House units - Floating and On the land

House units Overlook - Floating

House units Overlook - On the land

Fishing And Planting

Centre - Social