ONE, ‘Skin-Deep’, White Rock, Hastings. Final Major Project.
TWO,
Modification Warehouse, Wakefield.
THREE, ‘The Skinny House’, Kirkstall, Leeds.
FOUR,
The Former Reading Rooms, York Road Library, Leeds.
FIVE,
‘The Michael Landy Project’ Leeds Corn Exchange, First Academic Project.
BA (Hons)
Interior
https://vimeo.com/344365712
View online using the provided link.
Body modification is a rising trend, with social media playing a major part in manipulating the relationship we have with our bodies. Since the opening of the first tattoo parlour within a Turkish Baths in London, 1894, it is estimated 40% of young adults have modified their body image through tattoos, and a staggering 83% have piercings. ‘The White Rock Baths’ will pay homage to the UKs first tattoo parlour and open as centre for body modification, allowing visitors to explore the human fascination with our bodies and question whether the relationship they have with their own bodies is more than ‘skin deep’.
The chosen site for ‘Skin Deep’ is concealed underground, a stones throw from Hastings rocky coast line. The reinforced concrete structure once brought a sense of community to Hastings, uniting bodies in a series of pools deep underground. Now, it is a lost void overshadowed by Hastings busy promenade. Skin Deep will toy with this concept of concealment, questioning the value we
place on physical appearance. A journey underground through the once dark, derelict baths may shed light on the relationship with our bodies and bring our insecurities to the surface.
The series of spaces being transformed belong to a series of swimming and bathing facilities constructed in 1878. The site represents an early example of reinforced concrete structures, however despite its importance within the local community, the site remains unlisted and is gradually falling into a derelict state. Details of its former purpose still remain within the body of the building, and will be preserved with the installed addition of contrasting materiality and structure. Similar to how body modification leaves aspects of a persons identity visible, ‘Skin Deep’ will allow the appreciation of the age and context of the original building and its uses to be visible, despite changes to its form and function.
Section Render, P.42
50º 51’ 13” N, 0º 34’ 30” E, Hastings.
Situated in an underground swimming pool of ‘Artsy Hastings’, this attraction prompts the busy tourist town to come and explore ‘skin deep’. Skin-Deep produces a progressive series of spaces that will be sculpted with the core connection of Body Image that aims to enlighten, educate and involve visitors to question the relationship they have with their own bodies.
A series of emotive, historical body techniques from all corners of the world are united in to introduce visitors as to how religion, culture and society have influenced acts of body modification to create a sense of personal identity. Visitors are invited to reflect on techniques commonly used today, and how the harsh reality of the roots of these methods has been influenced by unlikely sources. A sensory, auditory journey will leave a lasting impression in the minds of the visitors and perhaps influence their opinion of the lasting impressions we make on our bodies.
This documentation consists of extensive comprehensive research and analysis of site, subject and inspiration. Module awarded a First-Class Honours.
The overall product has been created with Body Modification in mind. The external structure is bound with a leatherette material to mimic a skin-line texture, combined with a laser-etched title to ‘brand’ and ‘scar’ the cover, indicating the subject focus at first glance.
After further investigation, the research pages are noticeably stitched together. A process achieved by puncturing the pages and ‘skin’, allowing a sturdy wire to be sutured through, producing a strong bind that grasps the wounded fabric together.
01, These threads have been stitched in a surgical continuous suture (over and over stitch) and then surgically tied.
Internally, 118 sheets of transfer paper have been used, adding depth to imagery by revealing additional perspectives and detail. This paper has been used to replicate the paper tattooist use when drawing up the stencil of a tattoo.
Skills acquired and used following the main focus of the Marking Criteria
1, Writing a thorough Introduction and detailed Design Brief
2, Writing a detailed analysis of spatial/ accommodation needs
3, Investigating and analysing the chosen site in depth
4, Sourcing relevant Design Precedents
5, Sourcing and analysing appropriate Case Studies
6, Researching and developing a knowledge of the chosen building’s new purpose
7, Identifing environmental conditions of site, and proposing new methods of sustainability.
8, Sourcing and recording project inspirations, including personal work.
9, Producing an overall professional graphic layout.
09:00, 12:00, 15:00
The Sun’s path during the longest day of the year.
This accurate Sketch-Up render reveals how the unblocked sun on the South Coast manipulates the internal and external volumes of the Entrance and the Courtyard
09:00, 12:00, 15:00
The Sun’s path during the shortest day of the year.
To begin, an accurate scaled drawing of ‘The White Rock Baths’ was produced in Sketch-Up from analysing architectural Plans, Sections and Elevations. Producing this drawing allowed an accessible model that could be used through future development.
01, An initial design concept was obtained early in the project through the creation of a Historic Process Drawing. The abstract analysis of the building’s former purpose created the concept of ‘Exposure’, received from the evolution of swimwear that was worn during the building’s purpose as a Baths. As it can be seen, the drawing reveals how both male and female swimwear have developed to create an increased level of skin exposure, from the 1870s to the 1980s. The opposing concept of ‘Concealment’ derived from the body of the building sitting hidden under the busy promenade of Hastings.
02, 03, 04, These chosen languages have been expressed through material development; glossy tiles that fit the colour scheme of the original mosaics have been used in order to replicate the historic ‘scars’ left upon the building. The glossy finishes of the components were able to manipulate direct light, creating various distortions through alternative perspectives. The image hides, concealed within the cracks of the tiles until correct angles revealed glimpsed of the true pattern.
Even though the current structure is primarily crafted using concrete that has weathered over the years, I aimed to combine the provided volumes with metallic fabrications in order to extenuate the harsh atmosphere that the building occupies. The metal used will be stainless surgical steel, creating a clinical insinuation towards the methods of body modification that occurs within the building. This creates a direct link to visitors and exaggerates the events.
2D Development has played a vital role in producing the final design. Allowing my project to be creative, functional and precise.
Key Drawings
1A, Theatre Dimensions, Legal Guidelines of theatre arrangements were researched thoroughly allowing any restrictions within my building to be solved through design changes.
2A, Orientation of Cantilever Steel, A series of initial sketches revealing how the structure of additional concrete voids would support a mezzanine level floor through an arrangement of cantilever steel support structures.
2B, Elevator Location, Previously stairs could only access the Baths, as there was no elevator available. The location of a new elevator was deliberated in depth to fit effectively in the proposed circulation.
1B, Elevator Capacity and Dimensions
3D, Analysis of natural light penetration, The calculation of the sun-path in relationship to this structure allowed me to design additional openings to create sensory impact as well as helping to determine the position of individual functions.
After finalising my decisions, strategies and design moves; I was able to produce a set of accurate building Plans, Sections and Elevations. This later enabled me to create a perfect 3D model by analysing and measuring every component.
Model Measures at 1830mm x 250mm x 140mm
When considering the construction of the model, initial attention was spent determining how a true perception of the space could be achieved. This led to a sliding roof component that allowed people to peer into the volumes from above, similarly to how people on the promenade of Hastings would be able to peer into the building through the new central slice that splits the building into two (Key Design Move). The sliding mechanism would then allow for more of the design to be revealed once the roof system had been pushed/ pulled apart.
Construction Methods: 1, Steel Work 2, Hand-Cutting Card and Assembly
The building was divided into 3 separate sections to allow each individual space to be revealed accordingly. The dimensions of the model were recorded after being mostly handcut and lazer-cut then assembled, allowing the measurements for the surroduning steel structure to be gained. The body of the model slots tightly into the steel frame, exposing the internal details of the designed volumes, which is then covered by the promenade/ roof that has the ability to slide when, pushed on the steel angles at either side of each individual frame.
Aiding Software:
1, AutoCAD (2D, 3D) 2, Sketch-Up 3, CoralDraw
Due to the sheer length of my building my final model was constructed at 1:100. This model was constructed at 1:50 in order to expose a greater atmosphere of the building, presenting a better understanding of materiality, texture and proportion.
Scaled @1:20, 1:10, 1:1.
Design language has derived from exploring aspects of the building’s former purpose as a public bath. This has been expressed effectively through selected materiality, developing the concepts of exposure and concealment by using pierced perforated steel to create subtle views and access into purposefully split volumes, creating pause and appreciation towards divided spaces. This perforated steel creates additional
levels of exposure and concealment whilst allowing for a natural, breathable circulation route throughout the body of the building. In addition, the materiality of steel physically represents a sterile, surgical environment; this combined with the sharp language and orientation of the steel appears to show the building being surgically cut and sliced, replicating actions in the growing trend of cosmetic surgery.
Using knowledge of Wakefield’s growing reputation for Textiles combined with current technologies; an educational centre was birthed, specialised in the transformation of polyester fibres from plastic waste. The project’s main focus is to educate the next generation to recycle in an engaging way,
encouraging them to continue creating an impact for future generations. As well as promoting expert fabricators to use sustainable supplies, in all reducing the levels of waste in the surrounding environment and improving the local area.
Deconstructing my Sketch-Up model created an exploded view of the internal installation. This render reveals the conceptual installation that was inspired by the weaving process of the polymers during the manufacturing from plastic to fabric. These wooden panels weave between floor levels to create stair treads, supports for glazing and volumetric separations.
Client (A Plate and Curved Glass Manufacturer)
The Skinny House project began through a lucky-dip system where a student’s name was picked at random, alongside the database of a Client. This was a symbol of how in the future we may not get a choice in picking particular projects, intensifying the challenge of this brief.
My Conceptual design came from analysing the process of my client’s profession; leading
to my initial conceptual models, which signified the transition of natural materials into a man-made substance, this can be revealed through the use of geometry, using curved elements that transform sharply into linear features.
This concept model later transformed into a grand staircase that spread the span of the House, creating a statement that functioned with multiple resting spot.
Plans revealing the Interior composition of spaces and function.
These Renders and the renders on the upcoming page reveal renders from Year 2, Showing Personal Development in contrast to my previous pages.
An anonymous function in the heart of domestic violence crimes.
Statically in Leeds, the amount of domestic violence cases cannot be supported by the limited amount of services available, and there are currently no services for men alone. This easily accessible building gave the perfect opportunity to create a centre specialise in art therapy, taking abused men from their everyday lives and increasing hands-on crafts that would allow the effect of Neuroplasticity to promote emotional recovery.
Through research it was discovered that the local area was famous for pottery and the production to clay, the combination of the hands-on process of pottery and art-therapy would produce a strategy that aided the reduction of stress and anxiety.
Designing a series of geometrical arrangements, which had the ability to transform into versatile spaces when extruded from floor surfaces allows for diverse events to occur at different times of the day. The multifunctional purpose and shifting design also improves the client’s health by allowing them to be in control of their own environment, provoking them to gain confidence at a comfortable and personal rate.
A conceptually designed interior installation, functioning to display some of Michael Landy’s notorious work.
This designed exhibition space is an emotive interpretation of his most famous showcase, ‘Break Down’, which consisted of Landy and the visiting public destroying all of his personal belongings.
Methods: 1, Site surveillance 2, Photography 3, Hand-Cutting Card and Assembly
The geometric interpretation was modelled using cardboard, photographed then placed into the selected site using Photoshop to produce the desired atmosphere.
Software: 1, Photoshop
