Today we had our final formative review, so we printed out A2 copies of our Design Sheets. These last few days Nia has been working on them in response to our last formative review, constructing a narrative in the presentation of the work like I had discussed in my third blog entry. In the review we did a peer assessment and discussed what we could improve on while we annotated our sheets with post-it notes. Seeing the sheets in real life gave me a sense of scale, I was able

Today I begun using Sketchup, at first it was extremely difficult to navigate but I soon learned how to use the tools and realised it is just AutoCad but in 3D. I started making the model of the exhibition by pasting in the AutoCad plan and then tracing the wall points to make shapes and pushed them upwards. I made all the main walls and then begun adding fittings and furniture that I had constructed away from the model, in order to have space. I then built the mezzanine next

Today we begun by finishing off the 1:50 Draft concept model we had begun in the second week of the project. We cut out windows and added the mezzanine to give us a better understanding of how much existing space we had to work with. After this we added different types of fabrics on the windows and I took pictures while playing around with angles and sources of light, I was aiming to explore how the shadows moved around space. We included the original canopy idea and the fabr

Now that we had already had designs for the spaces it was important to now research what materials we were going to use and where we would source them from. In addition, since the exhibition will be temporary it was important that the materials we use can be repurposed or recycled. The "For Now: Unexplained" part of the exhibition will use a large amount of velvet in its design. It is luxurious and has a rich aesthetic, dramatically draped throughout the space it is pliable a

Today there was a formative assessment. Nia and I presented the presentation I had made to our tutor Suzanne and the group. They both said the content of our work itself was great and have a good understanding of the client, concepts, design and objectives. However, the presentation lacked a narrative flow, everything was just placed down with no thought about image hierarchy, annotations or clarity, we learned that the presentation has to speak for itself and convey everythi

I don’t have much to say about today although I did learn a lot. Firstly I made some space diagrams, I started by drawing bubbles each to represent a different part of the exhibition such as the gift shop, cafe or workshop. I connected the spaces that would be together and then put these bubbles on a print out of the existing floor plan, investigating and mapping out how they will fit into the existing space. Once I had a design I went onto Photoshop where I edited out the pa

At this point we began to design the exhibition spaces and what they would look like, using everything we had researched and explored such as our concepts, precedents, client analysis, and timeline. We knew we wanted to create different rooms to host different collections as Reed describes the design process of each room in his home as “building different outfits" offering individual experiences. The first room will be spaced around the pillar in the centre of the exhibitio

Today in studio my group and I began thinking about concepts. We began by doing further research on the client, understanding his aims, creative process and above all understanding his aims for sustainability. Reed focuses on sustainable practices, working with found materials and transforming precious, forgotten fabrics that would have otherwise been discarded. Calling upon over-consumption and the importance of valuing the quality and durability of garments. The “Encore” co

I started the day by attending Katie’s insightful lecture; she presented examples of numerous exhibitions and what design techniques they use to engage visitors. Although, the one that stood out most to me was the Holocaust memorial building in Berlin. Architect Peter Eisenman designed it to remind people of the horrors of the Holocaust by using scale, void like spaces and a restricted one-way flow he created uneasiness and entrapment. While scaled up materials such as concre

Today I re-visited the site to hone in on anything that I felt like I hadn’t fully understood, explored or missed out on from my site visit the week before, so that I may have as many analytical notes, ideas and drawings. I began by taking more photos of texture, which I already had graphite markings for and took more photos of the surrounding site. I continued by taking note of the wind direction, sun path, noises and their sources, parking, pedestrian flow and access points

Today was the first day of the project so I begun by visiting the site of the Vulcan Building to further understand it. Approaching the building I immediately noticed a lot of symmetry and arches on the façade, which made it appear very grand, drawing me towards it. I then noticed the colours and textures, such as the red, brown and grey bricks as well as their shape and size. Close up they looked very individual and separated but from a distance, they created patterns and gr