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South Yarra – Beautiful Pool House by Artillery

http://www.designrulz.com/design/2013/08/south-yarra-beautiful-pool-house-by-artillery/

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Investigation of Entomophobia Among Agricultural Students: The Case of Shiraz University, Iran

http://www.pagepressjournals.org/index.php/jear/article/view/4817/5483

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Driven Buggy; If Ever Was the Time to Get Help for Her Entomophobia, She Knew This Was It

Author: Williams, Vanessa

Journal: The Washington post

ISSN: 0190-8286

Date: 18.05.2004

http://www.washingtonpost.com/wp-dyn/articles/A34414-2004May17.html

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The Chaplaincy

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Entomophobia

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Unit X  - Week 1

Introduction to Unit X. Map Collaboration.  

After being briefly introduced to the project, we found out on the Monday that our first task would be for the whole group to collaborate in an illustrated map of Manchester City Centre. The map would consist of 16 A1 landscape pieces, to form a giant display which would then be exhibited in the Benzie Building Cafe. It was made clear to us that the idea was to work with techniques and materials used in both courses, which personally I really liked the sound of as I studied 3D design in college before coming to University.

My group mates from Interior Design and I briefly spoke about some initial thoughts and ideas, ready to discuss with the members from 3D on Tuesday when we were first introduced. The icebreaker activity which involved each member speaking about an object that is relevant to their course, as well as an object that describes their personality, really helped with introducing ourselves and getting the discussion of ideas going. After being allocated our group’s map section, we all agreed that as a first step, taking a closer look at the area on Google StreetView and planning a route to visit the area would help us get a real feel for the architecture and surroundings.

Photo taken during group discussion.

Our aim was to channel the look and style of the feature/structure through abstract elements. For example, this Vita Students building on First Street was made up of mosaic style tiles, so to represent this I used similar shapes and colours to create this mosaic pattern. I noticed that my work style involved a lot of collage, flat pieces and straight lines, whereas the 3D students utilised objects such as springs and wood cut-offs to create sections that came off the page. Both methods collaborated well together, and an area I particularly like is Macintosh Mills, which Hope has represented with springs and a thick industrial tape.

Vita Students Building, First Street.                                   Section of our 3D map.

Progress of the map once more three-dimensional features were added.

Being able to get hands-on and tactile with the brief really excited me, and although there were some periods where the workflow was interrupted by a lack of ideas, we were all able to encourage each other and inspire the group with some techniques others may not have used before. We took it upon ourselves to utilize our time efficiently, by being sure to meet up out of teaching hours and communicating through a group chat on Facebook.

Macintosh Mills, Manchester.

Liberty Living, Manchester.

I feel confident in saying that as a group we made sure to listen to each other's individual ideas, and work wise everyone contributed equally. However in future, we need to be more confident and improve our communication when it comes to keeping the cost fair, as some of us paid noticeably more out of pocket than others. In general though, the communication throughout the group was clear and consistent. 

Progress photo after collage was added to the map.

In my opinion, the finished map really came together as a whole, and having a side by side comparison of all the different techniques and materials was really interesting to look at. I’m very happy with the attention to detail in our segment, and I feel as though the colour choices and different layers/dimensions really stand out in the final display. The whole exhibition is really eye-catching and I feel as though it will draw the attention of passers-by in the cafe. It’s hard to believe that the whole thing was completed in such a short period of time. 

Completed collaborative map, displayed in Benzie Cafe.

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Unit X - Week 2.

Ancoats tour.

Photograph taken during tour of Ancoats.

Week 2 commenced with a visit and tour around Ancoats, an area claimed to be the World’s first Industrial suburb. Walking over the cobbles of the narrow pathways, framed by the towering red brickwork that made up the old mills, I found myself imagining the past inhabitants and workers going about their day to day life. It was quite surreal to picture the loud hustle and bustle of a busy working day, whilst I stood in such a contrasting, calm and almost eerily quiet atmosphere.

The faint background noise of builders and workmen up on scaffolding that day, were nothing compared to that of the heavy machinery and carts being pulled over cobbles that must have taken over the space in the past.

St. Peters Church, Ancoats.

Original features remain that allow you to stand in a space, and imagine the past activities that would take place on the average day of the late 18th-century. These included physical adaptations in the foundation, such as different gradients and slopes which would have been used to transport materials using carts. Another form of material transportation would have been through the still existing canals. These were used mainly during the construction of the steam-powered mills, and were essential to the area’s industrial development.

“Canals were the arteries of the Ancoats” - Peter Beuth.

Victoria Square Flats, George Leigh Street, Ancoats.

Another way to look into the history was by taking a treasure hunt style walk throughout Ancoats, to discover something called a peep. These are literal holes in a wall, covered with glass and framed by thick brass, allowing the visitor to peer through into the wall as if the bricks were the casing of an artefact. Behind these looking holes, are structures and features left behind during renovation, with the aim of leaving a piece of history forever embedded into Ancoats no matter what changes to the architecture arise. Considering the amount of scaffolding and builders on the site during my visit, it would seem that these types of changes were often being made. Therefore, it was comforting to know that these attempts to preserve history were put in place. 

Unfortunately, a lot of the peeps were either destroyed during building work, not functioning, or even stolen. Is the cost of a material ever worth more than its historic value?

Example of a peep in a wall.

An interesting factor about the peeps was that we were left guessing which displays were holding physical structures, and which were merely digital projections, made to appear real. The sense of mystery and illusion surrounding the tour was heightened, when coming across a sight that initially led me to believe that my eyes were playing tricks on me. Appearing to be floating in the water beneath New Islington Bridge, were the words 'CAST NO SHADOW'. It was revealed to us by the tour guide that I wasn't just seeing things, and this was, in fact, the result of a reflection of stencilled letters which were attached to the underneath of the bridge.

Trying to distinguish between what was real at what wasn't throughout the tour, painted Ancoats to me as being full of secrets and hidden history.

Housing Estate, Ancoats.

Housing Estate, Ancoats.

Three-Dimensional Drawing.

When I saw ‘3D Drawing Workshop’ scheduled on our timetable, I initially assumed that we would be drawing from three-dimensional objects. I’d imagined producing flat drawings on paper using typical materials such as pens, pencils and maybe even graphite. Even when we were told via email to bring in certain objects from a list, (masking tape, wire and plasticine to name a few), I was still caught off guard when the task was explained to us in the studio.

Using the 3D objects to produce a three-dimensional drawing, in order to represent our journey to University that morning was our first task. Initially, I did feel slightly out of my comfort zone, which is visible in the quality and creativity of my first piece. I definitely took the brief quite literal, by showing that I walk from my student halls in one continuous line, shown by connecting each building with a singular piece of wire. By including a structure to represent a bus and placing right in between my halls and the Benzie building, I used this to show the build up of traffic due to buses pulling in and out of the stop, which is the one obstacle that often creates a gap in the continuous line that I walk. 

First three-dimensional wire drawing.

We were encouraged to speak to our peers about the concept behind our pieces, which inspired me to think more outside of the box. I soon realised that three-dimensional drawing doesn’t just have to be a flat pencil drawing made off the paper, but it can be more abstract and objects can be utilised in many different ways. Without this team discussion, I wouldn’t have been able to produce the further pieces I created that day, which shows that working alongside your peers and discussing ideas can be that one step you need to progress. 

Following this, the next task was to create another three-dimensional piece, which in our own opinion, represents Manchester. Some people worked with the idea of the Manchester Bee, others the train stations, whereas I started with the idea that the city is known for its rainy weather. 

Abstract sculpture, representing rain.

After being encouraged to take a walk around the room and look at everyone else’s designs, we were then asked to take a seat in the chair behind the work that we ended up stood by. I know that my friends and I had initially assumed that we would simply have to give a brief over view of what we liked about the person’s work and what we thought it represented.

The united gasp of everyone in the room, followed by mumbles and nervous laughter, confirmed that the actual task of having to make physical adaptations to others’ designs, was nerve-wracking to us all. After sheepishly sitting by a purple foam structure, I was able to make out the word ‘Vimto’ written in wire. 

Peer’s work that I was asked to make alterations to.

Upon first glance, the concept wasn’t so obvious. My aim was, therefore, to channel the Manchester drink more clearly, being careful not to take away the structure’s abstract charm. Adding circular bubble-like shapes, and swirling liquid inspired forms, I used relevant colours and added more texture and dimension by layering up materials.

Photos taken during the alteration process.

It was interesting to speak to the original designer and hear their thoughts on the collaboration, as it became clear that I had given her ideas that she wouldn’t have thought of herself. As well as this, hearing what the person who redesigned my work took from my original piece, and seeing how different people can create different concepts from one abstract piece was really eye-opening.

Final piece that I came back to, after someone had made some changes to it.

This part of Unit X has shown me that collaboration and discussion can play a huge role in the success of a design process. This was great practice for future projects, not only in University but when working in the industry too.  

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Unit X - Weeks 3 & 4.

Skills teaching and collaboration.  

3DD student teaching me and Gareth how to make slip casts.

One of my favourite moments during Unit X so far, has been the skills session. After our names being pulled out of a hat, we were arranged into groups of three, made up of two Interior students to one 3D student. 

Working alongside someone on the same course as me, it was useful to see what type of skills Gareth had, knowing that in the future I will know how to fully use Sketch-Up to the standard that he taught us at. On the other hand, shadowing a 3D student who’s course is a lot more tactile than ours, it was eye-opening to see the way that other students in the same department as us can work so differently. 

Fellow Interior Design student teaching us basic Sketch-Up skills.

3DD student collecting slip before her demonstration.

Our final task of this unit was to produce a visual powerpoint slide, showing what we had learnt that week. This was to be added to a collaborative presentation that both courses watched together. The presentation showed what a range of skills we all have, and how sharing our knowledge and exchanging tips can greatly benefit us all.

Paper Towns brief introduction.

At the end of week 3 came the final project launch. 

After being separated from 3D students, my group consisted of Annika, Dylan, Grace and I. However, after receiving an email to ask any groups with under 4 members to come together and form a larger group, we assumed that groups of 3 would be joining together, and the average group size would be 6 members. 

Therefore, we took this opportunity to join another group of 4 in order to work with our friends, as the 8 of us usually worked well together in the studio/library.

  The brief that we were given on Friday was very broad. So, knowing that we were required to select a location for our design, we decided as a group that it was best to take a walk around Manchester to gather some inspiration. 

Photo taken on a group visit to First Street, Manchester.

A space which stood out to us was the area surrounding the HOME gallery. It seemed to coincide slightly with the Paper Towns brief, as First Street is almost as though it's a whole new village of its own, contrasting and seperate to the rest of the city. We were inspired by its crisp, well-designed layout, as well as the use of lighting and digitalised advertisement.

First Street, Manchester.

First Street, Manchester.

Our main inspiration came from visiting the HOME gallery and coming across the John Hyatt exhibition. It was here that we were drawn to a mosaic, mirrored installation, as parts of it were difficult to spot straight away due to the reflections of the surrounding gallery. 

John Hyatt Exhibition, HOME gallery.

John Hyatt Exhibition, HOME gallery.

Another aspect of this exhibition was an installation called “Club BIG”. We found that by walking through one threshold that led to another part of the same room, we were immersed into a whole new atmosphere. From such a crisp white, open and brightly lit gallery space, we were suddenly in a dark pod style installation. Of course, if we were there at the time that the band were playing in the exhibition, it would have been an even greater contrast. 

Club BIG, John Hyatt Exhibition, HOME gallery.

The installation featured numerous box/pod style structures, as well as artistic entrapments. 

Sculpture, part of Club BIG, John Hyatt Exhibition, HOME gallery.

Sculpture, part of Club BIG, John Hyatt Exhibition, HOME gallery.

Upon exit of ‘Club BIG’ was the opportunity to try a free cup of herbal tea, that claimed to make the drinker think more creatively. A few us, including me, tried the tea and began to write down some thoughts and ideas. 

Whether the tea worked or was just a placebo, this is where our initial concept began. We were greatly inspired by the immersive aspect of having a dimly lit, but loud club atmosphere that would be full of energy, in the middle of the bright white decor, of a serene gallery. 

The idea of drinking something in order to alter your mood or sense of surroundings encouraged us to think about sensory experiences. We discussed how to use elements in order to make someone feel as though they are in a different environment.  

At this point, the concept that we pitched to the tutors was that of recreating an atmosphere such as a forest, beach, or cliff side (an environment which Manchester cannot provide) inside an installation. We planned to design three installations, to be situated around the HOME gallery, focusing on specific areas such as the arches. 

John Hyatt Exhibition, HOME gallery.

After our first two tutorials, we realised that the idea was very basic with not a lot of research and reasoning to back it up. I think this may have been due to being part of such a big group. With so many ideas flying around and a lot of mixed opinions, as soon as we came up with an idea that nobody had a problem with, we ran with it. 

We realised that we needed to refer back to the Paper Towns brief, which is when the idea of phantom settlements sparked an interest with us all. 

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Unit X - Interim Crit Presentation.

Precedent Images, showing immersive installations.

Atmospheric, artistic precedent images. Linking with a forest theme.

Abstract, artistic images. Linking with a beach/water theme.

Sculptural style precedent images. Linking with deserts and mirages/illusion.

Main precedent image page, showing an immersive/interactive installation, sensory elements of touch and sound, hint at nature.

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Unit X - Weeks 5 & 6.

Visiting the exhibition location.

The exhibition for Unit X will take place in Chapter One bookshop, Manchester. My first thoughts on the space were positive, and we all knew straight away that the selection of glass booths towards the back of the shop would be perfect for our exhibition. As our concept involved projections and sounds, we aimed for the exhibition piece to represent this by using similar techniques. 

Therefore, the glass booths would be ideal due to the fact the booths are pod-like - relating massively to our design, and the area in which they stand is the most dimly lit space in the shop - allowing us to project our film clearly. 

Glass booths in Chapter One bookshop, Northen Quarter.

During the tutorial in which we gave the tutors our list of equipment requirements, we also enquired about using a glass booth for our exhibition. However, after being informed that all four booths were taken by other groups, we were advised to use the empty space by the cafe window. 

Seating area in Chapter One bookshop, Northen Quarter. 

Disappointment aside, we decided to revisit the book shop to size up the area, gather some measurements and check out how the natural light affects the space. We realised that this space wasn’t great for our projection idea due to the amount of natural and artificial light coming in from all directions. In order to reduce the amount of light, we invested in some fabric to create a pod of artificial darkness. 

Gathering primary research.

During the Easter break in which our group members weren't able to easily meet up, we used social media to continue working together. We communicated through a Facebook group chat, and contributed our research to a collaborative Instagram account. 

https://www.instagram.com/edge._of_.reality/

I was sure to gather a good amount of primary research by visiting secluded spaces in my hometown of Frodsham, mainly wooded areas. I particularly liked this photograph I captured, as it appears as though the branches of this tree are creating a natural threshold into a new atmosphere of a brighter, more open space.

HobHey Wood, Frodsham, Cheshire.

Through photographs and videos we uploaded to our Instagram account, we were able to pick out certain features and sounds, being sure to take note of other factors such as scents, the feel of the ground below our feet, temperature, wind level etc.   

HobHey Wood, Frodsham, Cheshire.

HobHey Wood, Frodsham, Cheshire.

Week 6, we focused on one atmosphere in which our exhibition piece would revolve around. We decided to use a cliff side, as there is something surreal about feeling as though you are stood on the edge of the world. This is where the project name ‘Edge Of Reality’ emerged, and we decided to take a trip to a suitable location. 

Two members of the group that drive, took us in two separate cars to Thurstaton Beach, Wirral. Despite it being easier for one car of people to visit, we found it important that we all were able to visit the location and get a feel for the atmosphere ourselves. Annika and I rented out two video cameras for the day, in order to capture some high-quality video footage that would also pick up sounds well. 

Photo taken during group visit to Thurstaton Beach, Wirral.

Photo taken during group visit to Thurstaton Beach, Wirral.

It was definitely beneficial to immerse into the environment that we aimed to recreate. Recording this on Instagram ensured that we could all share our thoughts and feelings for everyone in the group to see and work with. 

Thurstaton Beach, Wirral.

The sudden gust of wind and uneven floor, gave a sense of uneasiness as I had to take each step with extra caution. However, looking out to the open emptiness that was the sky, and listening to the crashes of waves hitting the rocks below, I was overwhelmed by the sense of freedom and carelessness. There was no smell of busy food chains, no litter or chewing gum embedded into the floor, and no constant noise of traffic.

Being in such a secluded and unpolluted area, surrounded by nature, my mind felt clear of any worries I had before the visit. It may have only been temporary, but this feeling of carelessness whilst standing on the edge of the world is what we hoped our installations would create.

 It was at this point that we decided on a change in location for our installations. Rather than First Street, which was already quite secluded compared to the centre of Manchester, our project would channel our idea more successfully if the installations were in the busiest areas around the city. This would create a bigger contrast in atmospheres that we were aiming for. 

Following this decision, we wrote down a list of locations, including the train stations, popular shopping centres, and densely populated areas such as Picadilly Gardens. Olivia drove around Manchester to capture some photographs, in order for the group to produce some visuals.

With having so many separate installations in different locations, we had to think about how people would find our pods. I pitched some thoughts to my group, taking inspiration from my Dad, who whilst in Malaysia, has taken part in an activity known as Geocaching. 

https://www.geocaching.com/play

“There’s an adventure happening all the time, all around you”. - Geocaching.com

https://youtu.be/1YTqitVK-Ts

This is when we decided to produce our own specific map that pinpoints the coordinates of each pod, giving the user the opportunity to take part in an almost treasure hunt style exploration of the city. 

Relating back to the brief, this meant that our concept was that of creating phantom settlements, only found on a certain map.

Photo taken during group visit to Thurstaton Beach, Wirral.

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What is Geocaching?

https://youtu.be/1YTqitVK-Ts

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Unit X - Weeks 7 & 8.

Finalising our exhibition design. 

After being under the impression that we were unable to use any of the glass booths for our exhibition, we needed another way to represent the rectangular pods that we would be installing around Manchester. We also found through experimenting, that simply projecting our film footage onto a flat surface, didn't give the immersive feel that we were hoping for. 

Following this, the idea of creating multiple box-like structures which we would place in a tower-like form, seemed to solve both problems. Not only did the boxes represent our installation design, they also created varying levels and dimensions which coincided with the uneven flooring and differing heights within a cliff side. 

We found foam board to be the most suitable material to create said boxes. After I produced some quick sketches of different layouts and forms, as a group we decided on how many boxes were required, and who would make them. 

Progress of box making. Photograph taken in open studio space, Benzie. 

It was during the most recent tutorial, that we were informed that in fact, three out of four of the glass booths in Chapter One were free to use. This caused a lot of confusion and meant that we had bought materials that we now didn’t need. We made sure to use our initiative to again adapt our design, this time to work within a more constrained area. 

Testing out different formations of the boxes. Photograph taken in Interior Design base room. 

We were granted the use of all three glass booths in order for the projector to be a suitable distance from the boxes, but we had to think carefully about how the glass would affect the projections. 

An important element of our exhibition design was the inclusion of a leaflet style book of information. This was to include an introduction to our concept, photoshop and mood board style visuals, and any relevant research. 

Being comfortable with InDesign, I produced some visual plans for the style and layout of the book. This was then used as something for everyone to look back on during the creation of the visuals, in order to keep a running theme. 

InDesign document used as a starting point for the final book.

I gathered everyone’s individual input to produce an introduction to our concept and design. I then sent this to our group chat and everyone approved of me sending it to one of our tutors, in order to be written on an A5 blurb. 

The plan was to use this same piece of text on the first page of the booklet, introducing our project. However, a few members of the group made some alterations to this before including it in the final piece, without double checking with the group. In all honesty this doesn’t bother me as one of the main factors of collaboration is to compromise. However, I would have liked to have been given the opportunity to read the altered version before it was made a part of the official book. This is simply due to noticing a few punctuation and spelling mistakes that have accidentally been printed.

Printed and bound book. Photograph taken in the book binding studio, Benzie.

In my opinion, the book is the strongest point of our project, and without this, the exhibition wouldn’t have made sense. 

Finished book cover once bound.

Example pages of final book.

Scanned handmade visuals. Photoshop Visuals. Example pages of final book.

Digital Visuals. Example pages of final book.

Setting up the exhibition.

The next step was to clear out our allocated space and begin setting up our exhibition. Luckily, our group were one of the first groups scheduled to set up at 9:30am. This gave us enough time to play around with positioning and lighting, as well as come to an agreement with the bookshop staff on the level of sound we were able to leave playing. 

Clearing out the existing furnishing from the glass booths, Chapter One bookshop.

Unfortunately, due to printing issues, we didn’t manage to bind the book until the Wednesday that we were due to set up. Alongside this, despite requesting a laptop from the very first tutorial, we were turned away from the AV store as there were no laptops available. This resulted in two members of the group arriving late, as they had to go and borrow a Windows laptop from Birley.  

With two members of the group busy trying to sort out a laptop, and some arriving a little later due to oversleeping, it caused quite a lot of stress trying to make decisions. Without everyone there when discussing the layout now that we were actually in the space, we didn’t want to change something without the whole group’s approval.

It wasn’t until the others arrived to Chapter One with the laptop, that we tried to do a test run and realised that our prepared film wasn’t compatible with a Windows machine. As a last resort, Annika had to use her own Mac laptop to run the film.

Following a discussion with one of the tutors, it was made clear that the University would be unable to supply us with a Mac computer. We dealt with the situation fairly by allocating shift times for the day of invigilation on Thursday. We arranged ourselves into groups of two, pairing somebody who owned a Mac with a HDMI port, with someone who didn’t. This ensured that throughout the day, there was always somebody with a suitable laptop to run the film, and always two people there to protect the equipment. 

Alongside the book, we displayed an iPad open on our collaborative Instagram, in order to make our exhibition that little bit more interactive.

Table featuring in the exhibition. Ipad showing collaborative Instagram, final book and A5 blurb.

In my opinion, especially when compared to some of the surrounding exhibitions, I do believe that a lot more work could have gone into the display. On the other hand, it was great to see all of our group’s work come together, and I am extremely proud of all the work we have achieved. I will discuss this further in a final summary post. 

Final exhibition piece. Boxes in correct formation, showing projections.

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Unit X - Final Summary.

Our first real introduction to Unit X took place in a lecture theatre. In fact, it was the same lecture theatre that I visited on an open day to sit through a student finance talk, so sitting there being given the brief for the final project of first-year felt slightly overwhelming. 

On top of this, being in such a large room with so many students from 3D design that I didn’t know, was quite daunting. Especially knowing that we would be working together in some form. However, once each of the lecturers involved gave us a brief background on themselves and their careers/work style, the idea suddenly seemed less nerve-wracking. I was able to see what a variation of different careers and experiences one individual in the industry can have. I soon warmed to the idea of meeting new people and discovering how students on a course in a similar field could work so differently to us.

Having often heard the words “group work” throughout my education, usually referring to working in a small group for simply a week to produce a presentation, I can definitely say that no other group work has been quite like Unit X. From being taught how to create slip vases out of clay by a 3DD student, to producing an exhibition piece open to the public, Unit X provided the opportunity to develop and extend my skill set in many ways.

When it came to the final part of the brief, there was some slight initial confusion with group numbers. This resulted in my group of four combining with another group of four, making us the largest team on our course. Initially, working with a large group of friends seemed like a great idea, but towards the end of the process we all realised that maybe such a large group wasn’t the most logical idea. With having such a varied group, some people preferred to work in the evenings whereas others felt more productive with an early start. As well as this, a few people had to work shifts elsewhere, or others would oversleep, resulting in an eight-person meet up often turning into a four to five person meet up. I do believe that this could have been avoided if we were a smaller group and able to work around times that suited everyone. 

Upon reflection, I would definitely say that this held us back sometimes. Although frustrating, I knew that waiting around for others and having the attitude of ‘if they aren’t going to do the work, why should I?’ wasn’t going to get us very far. There was no reason to jeopardise the whole group’s work for the sake of being stubborn.

In response to the theme of 'Paper Towns', our group concept was that of creating a series of Phantom Settlements in the form of installations. The aim of these installations would be to take the user from one atmosphere to another. 

We would recreate the environment of a more isolated space (such as a forest or cliff-side), and situate the sensory installation in a contrasting ambience (such as a train station or shopping centre) around Manchester. To achieve the sensory experience, specific aromas, sounds, projections, humidity and textures would fill the pods. 

Video footage would sometimes be projected in the surrounding area, attracting people to the space surrounding the installation. However, the actual pod-style structure would be mirrored from the outside. This would mean that unless you were specifically out looking for them, in a crowded space the pods would easily go unnoticed. Thus creating an element of secrecy, leaving people from a distance to question whether to structure was real or not. 

Taking inspiration from the activity of Geocaching, we would produce a map in which the coordinates of each installation are shown. This would give people the opportunity to take part in an almost treasure hunt style exploration of Manchester. Hidden around the city, these immersive spaces would create the illusion of a space that only exists on a certain map.

For the most part, Unit X was a great way to come together and work alongside others. Seeing how others on the same course can work so differently to one another, encouraged me to think outside of the box. It made me realise that having your own specific style and branding is great, but branching out and experimenting with different techniques can be the making of a project. Being in the same friendship group as Liam and Grace, I have often been in awe of their visual styles. Grace’s collage pieces are always so striking, but I would never have thought to use this style of visual to show my ideas. Comparing skills and work styles has made me realise that my visuals don’t always have to be so literal. Design isn’t all about straight lines and measurements, and it has been extremely useful during Unit X to have abstract and conceptual stages used throughout the process. 

Exhibiting alongside the rest of our course mates meant that we were able to see a variation in how different people interpreted the same brief. This, as well as having the opportunity to see 3DD students work was an eye-opening and inspirational element of the exhibition. It was clear that our exhibition didn’t have as much detail as others. Yet, we were all happy with the clean cut, minimalist approach, as anything too busy would have looked cramped in such a constrained space. I think maybe we focused too much on visuals and research, rather than the actual exhibition design.

Referring back to a Fundamentals Lecture from guest speakers Hawkins\Brown, it is clear that collaboration and negotiation plays a huge role in the design industry. The Manchester company is made up of a team including interior designers, architects, urban designers and researchers. Company leader Morag Morison, was keen to let us know that the team are encouraged to work beyond the role of an interior designer, often collaborating with other creators such as artists and graphic designers. 

Now one of the most successful design companies and ‘AJ100 Practice Of The Year 2016’ winners, they wouldn’t have gotten this far without collaboration. This is why I feel that Unit X has helped prepare me for future employment opportunities. 

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CP - Victoria Baths, Manchester.

Victoria Baths was the host building of our last studio brief, however during our first visit to the building we were only given access to the pools and downstairs area. After asking about a second visit, we were granted access to the Superintendent’s flat upstairs. The Superintendent was in charge of the swimming baths and wash houses throughout Manchester, and his flat situated in Victoria Baths consisted of a sitting room, dining room, a kitchen and 4 bedrooms. 

Interestingly, I found myself more intrigued by the ruins and decaying plasterboard that is the living quarters. There's just something fascinating about being able to look at the features and structures of a room and try to possibly imagine the past inhabitants and activities that have happened in that space. A quote by David Harvey comes to mind when I look through the photographs I took, knowing that in the future these photographs will be a past form of the ruins that will further decay. 

“As everything destroys itself in the twentieth century and nothing continues, so then the twentieth century has a splendour which is its own and Picasso is of this century, he has that strange quality of an earth that one has never seen and of things destroyed as they have never been destroyed. So then Picasso has his splendour”. - David Harvey, The Condition of Postmodernity, Page 17.

The crumbling remains and exposed under layers created textures and discolouration, giving the aesthetic of intricate artwork that you couldn’t help but take a closer look at. Peeling layers of wallpaper were like the pages of a book, telling the story of the building’s history. 

After coming across a dust laid mirror in the committee room, in which receptions and meetings were held, I noticed the word ‘REDRUM’ etched into the blanket of grime. Knowing which film this concept is from, I initially laughed and took a photograph. Yet, it was then that the reality of people being able to alter the state of the room hit me. Should visitors be able to get so up close and personal that they are able to touch and change the composition of what some may see as artifacts? 

Is it possible that some of these rips and tears in the ruins have been caused by recent human interaction? Will we ever possibly be able to fully distinguish what is authentic decay and wear?

[intd-angie-blog]

CP - Whitworth Art Gallery, Manchester.

‘Europe’s Best Emerging Culture Destination’, ‘2015’s Museum of the Year’ and ‘North West Building of the Year’, are just 3 of the numerous awards and labels that The Whitworth Art Gallery has accumulated during its lifetime.

Following its £15m renovation and reopening on Valentine’s Day of 2015, the gallery won the Gold prize for Large Visitor Attraction in the ‘VisitEngland Awards’ of the same year.

Part of the University Of Manchester, the gallery was built in order to make better use of Whitworth Park. However, the initial landscaping and security of the park were not of a high enough standard to suit the picturesque historic building, causing the park to become neglected by the cultural visitors the gallery was intended for. The result was an iron fence being erected between them. Could this have been prevented by improving Manchester’s overall urban planning, or is it inevitable that low income areas cannot embrace higher culture?

Change was arguably needed and in 2006 it came in the form of new Gallery Director Maria Balshaw. Acclaimed as Personality of The Year at the 2015 Apollo Awards, her input was a positive transformation.

Her addition of new modern spaces to the existing historic structure can be seen where revealed brickwork meets crisp white walls. Strip lights create a combination of subtle shadows between dimly lit areas, contrasting with natural light beaming through the wall of glass looking out onto the park. Such a use of glass opens up the interior and creates the feeling that the view of the gardens is in fact, another piece of art in the gallery.

It’s striking that the very first thing Balshaw did was take down the iron fence that separated the Gallery from the park it calls home. Reconnecting the two was quoted by Balshaw herself to be a “brave move”. But why had the people of Manchester felt the need for the gallery to be protected and segregated from the area that surrounds it?

I was inspired by the rebirth of the Whitworth for a number of reasons. One being the fact that Balshaw was aware that the building was situated in one of the city’s most economically challenged areas, and was it clear her deliberate aim was to give back to the community. Balshaw sought to benefit the community financially, with tourism and by creating jobs for residents of the area. However in my opinion, alongside that, her contribution to the area was giving some reassurance that a problem had been recognised.

I feel her knocking down of the iron fence can be seen to symbolise the knocking down of the psychological wall between both sides of the economic spectrum in Manchester.

Bibliography:

http://advisor.museumsandheritage.com/the-whitworth-art-gallery-pulling-down-the-barriers-in-the-park-qa-with-maria-balshaw/

[intd-angie-blog]

CP - Tate Modern, London.

Tate Modern, London. 

Visited 18/02/17.

Explore. Materials And Objects

A key art work in the London Tate Collection is ‘Fountain’ by Marcel Duchamp, which has very mixed opinions surrounding the fact that it could be the first piece of conceptual art ever made (although the very first artefact was in fact destroyed by Duchamp, who then produced 17 replicas). With a strong contrast between some seeing it as a fascinating break through into ready made art history, and others simply and utterly confused by the concept that this is more than just a urinal, is it possible to call such a thing art? Considering that even Duchamp himself described the piece as "une pissotière en porcelain” (a porcelain urinal) in a 1917 letter to his sister, how is any one else to see or claim any different?

It’s clear that this piece has caused quite a stir even with philosophers, one being Stephen Hicks who has been quoted to say;

“The artist is not a great creator—Duchamp went shopping at a plumbing store. The artwork is not a special object - it was mass-produced in a factory. The experience of art is not exciting and ennobling - at best it is puzzling and mostly leaves one with a sense of distaste. But over and above that, Duchamp did not select just any ready-made object to display. In selecting the urinal, his message was clear: Art is something you piss on.”

Could it be possible that Duchamp was in fact making a statement, almost laughing at the idea that any thing could be called art? Is this why he chose such an object? Did people obliviously prove the point he was trying to make? 

As a design student, it was invigorating to see a display as part of the same exhibition, which celebrates artists not feeling confined by the media traditionally associated with fine art. It was titled ‘Explore. Materials and Objects’ and brought together a range of artists’ quotes, films, and a variety of different materials to explore how artists use different forms and textures. They ranged from discarded “rubbish” and scraps, to precious items of jewellery, and most interestingly the mass-produced, relating back to Duchamp’s ‘Fountain’.

  The artist’s quotes appeared to be answers to a couple of questions which were dotted around on the shelving style display, i.e. “Why make art from everyday things?” and “What comes first, the material or the idea?”. What was great about being a visitor to the display was how interactive it was. Not only did it get me thinking about how I myself would answer these questions, but I was able to examine each artefact in a number of different ways. This included simply observing with my eyes, watching a media piece on a fixed television screen, and even being able to touch and hold certain artefacts. 

A section from an anonymous article written about ‘Fountain’ was one of the quotes. 

“Whether Mr Mutt with his own hands made the fountain has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view - created a new thought for that object”.

Whether Duchamp produced this piece to be considered art is not definite, but the creation has most definitely opened up a lot of doors and inspired many.

[intd-angie-blog]

CP - The Design Museum, London.

18.02.17 New Old Exhibition.

Can design improve people’s quality of life into old age? Our society is ageing so rapidly, but can design keep up with the challenge? During my visit to The Design Museum, London, I explored The New Old exhibition, which took a look at how design is approaching the task. 

The free pop-up exhibition was made up of six sections, Ageing, Identity, Home, Community, Working and Mobility. A common concept I could gather from the exhibition, was the idea that longer working lives will massively benefit the older generation health and cognition wise, therefore drastically reducing welfare bills. Not only this, but heightening the retirement age could bridge the skills gap in the workplace by having older, more experienced workers around for a longer period, meaning they are able to expand the knowledge of fellow workers and pass on many sought-after skills. 

In order to make this a reality, the work environment would have to stay on top of being appropriately designed for aging members of the team, taking factors such as ergonomics and ease of movement around the space into consideration. This would be to ensure that the older workers could complete a job to the same satisfaction and with a level of difficulty as similar as possible to a younger member of the team. 

On the other hand, as comfortable and well designed as the workplace may be, is it really right to expect that the older generation should give up the full retirement period that they were previously entitled? How accurate are the expectations that longer working lives will benefit, rather than detract from the older generation’s health?

In an ideal world, a higher volume of people being able to make a contribution in the workplace for an extended period would be great, but have issues such as dementia, arthritis and mobility problems been properly taken into consideration? I couldn’t help but question whether this study is more focused on statistics and charts, rather than the well-being of those affected. 

However, an interesting artwork titled “Hello, my name is Simon”, features a theoretical 92 year old man who relies on an app called ’Spirit’, designed to adapt the user to working at and old age. Simon is quoted to say a number of facts about himself that these days would come as a shock to hear a pensioner say. 

For example, a diagram shows Simon running around a track whilst informing us that he is “physically fit” enough to exercise to that extent. Another quote is “I’ve just had a baby with my fourth wife Nasira”, a sentence which then concludes with "Spirit is designed to manage the tangle”. How an app could contribute to such drastic and physical lifestyle changes is questionable, but a quote which stood out to me was one that touched on some points that I had thought about whilst walking through the exhibition.  "I’ve got the advantage of decades of experience, but my memory is not as sharp as it was. Spirit remembers everything though”.

 Could such an app really work to mask illnesses such as dementia, caused by chemical imbalances in the brain? Would the elderly be open to having their lives literally ruled by technology? Could future design really be the way forward when it comes to improving the quality of life of an ageing society?