The Fun Lab

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The Fun Lab

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INSTRUCTION LEAFLET

MARX JENGA This game is a reminder of the importance of key workers; over worked, under paid.

BUILD!

PLAY!

LEARN!

SAVE LIVES!

Key workers have always been over-worked and underpaid. Covid-19 has made this more apparent than ever! The working environments for key workers at the frontline have affected many - both mentally and physically.

UILD “ TO B ” The term comes from the Swahili word kujenga meaning “to build”. The game was created by Leslie Scott in the 1970s.

But looking into the concept more metaphorically, as humans we are constantly building. Whether that is building relationships, ourselves or even physically designing and constructing.

HOW WILL THIS INFLUENCE MY DESIGN?

Taking its definition further “to build” I want to be able to create an interior space that enabled people to build something together, whether that be through creating art, literature, music or even cooking. Additionally, I can look into its structural elements and analyse multiple ways it can be used within a space.

Marx Jenga has all the classical clas fun of jenga with an educational twist of the ideologies of Marxism. Roll the die to determine which block to remove from the Marx Jenga tower. Will it be ‘the individuals’ block on the end that you’re able to slide out with ease and place at the top of the tower? or... will it be ‘the state voilence’ in the middle taking over at the top of the tower?

The game aids to educate people of the current societal structure (captialism) but, make them aware of the struggles of tbose at the bottom tier of the tower (The individuals also known as ‘The working class’.)

- A dice - 54 corrugated cardboard jenga blocks (37.cm x 12.5cm x 7.5cm) - Stacking sleeve - Player: 1 or more - Ages: 8+ - Braille writing on blocks OBJECT OF THE GAME: Roll the die to determine which block to remove and place to the top of the tower. The last player to stack a block without making the tower fall wins.

SITE ANALYSIS 1.0

ASSAY

1300

1363

Dates back to this time when Edward I instituted the assaying and marketing of those precious metals.

The business ethos remains the same.

The marker’s mark was added to the hallmark.

Majority were pictorial but, as the business grew to make it easier initials were added instead.

1478 The Wardens of Goldsmith managed to set themselves a Goldsmith hall and paid a salaried assayer to test and mark items.

This enabled successful assayers accountable for their work.

ofďŹ ce

1773

1773

1972

The Birmingham Assay Office was then founded by Parliament on this date after intensive persuading from Boulton.

After several council discussions, it was agreed to add an extension to the building - adding another storey.

SITE ANALYSIS 1.1

FUN LAB ARC6111

DEMOGRPAHICS couples

Students also make up the younger population of the Jewellery Quarter.

There is the School of Jewellery which is located by St Paul’s Square.

Additionally, the Jewellery Quarter is only a short walk from the city centre where the main Universities are located, some students may chose to live in the area.

young adults

customer service

There are many working professionals within the area due The Jewellery Quarter to a large number of is mainly well known offices and it being for its silversmith and close to the city centre.

Jewellery designers. There tends to be a percentage However, walking higher of intermediate and around the area we occupation can see a an increase higher in freelance artists statuses in the area. and craftsmanship many owning their own businesses.

university students

office jobs

The paler orange highlights the amount of entertainment venues - fewer than hospitality places.

The ones surrounding the site are mainly venues for live music and galleries.

artists

silversmith

Showcasing the numerous cafés, bars and restaurants around the area. There are a range to chose from, all very different atmosphere, catering for various events.

working professionals

craftsmen

ASSAY OFFICE

Apart from silversmiths, commuters and students, many chose to live in the area because it is just out of the centre. It’s a quieter area, especially if you have pets.

40% of the area’s demographics are ages 18-24 years.

FUN LAB

SWOT ANALYSIS ARC6111

STRENGTHS

The Assay Office’s location allows it to be easily accessible - close to all transport links and only a short walk from the city centre.

The building exterior is very prominent and can be easily identified.

It has two entrances giving it more flexibility - distributing footfall and the amount of people going through one entrance (abiding COVID restrictions.)

Looking into the site’s occupancy and things surrounding it, there is minimal fun places. Giving it more attraction as it is a unique idea.

Due to minimal natural lighting, I can ensure to use artificial lighting that can replicate it and still give it the same ambience.

WEAKNESSES

OPPORTUNITIes

threats

The Jewellery Quarter tends to be known for its jewellery makers and silversmiths so including a ‘fun palace’ might be out of place.

Controversy to what the Jewellery Quarter is mainly known for, adding a ‘fun palace’ could add more of a contemporary, fun and young environment.

The fun aspect I will be bringing into my design will be related to food and analysing the dining experience.

But, there are a few hospitality places already surrounding the site, increasing competition in the market.

With regards to the location it’s demographic tends to be of working age, especially surrounding the Jewellery Quarter and the city centre.

This may bring challenges of attracting the right audience into the Fun Palace.

Within the building there is minimal sunlight coming in - the facade will get the most because it is south facing.

There are a few Assay Offices in Birmingham.

Additionally at this focused building there are extensions part of the office and can be misleading.

Taking its exterior and building profile is old but, this will give me the opportunity to experiment with the aspect of ‘old vs new’, creating an interior that will can become autonomous to its existing site.

The building is grade II listed,this means there are some regulations I would have to take into consideration and will have to be conscious of any alterations and demolitions.

There will be COVID restrictions and regulations I will have to consideration regarding people travelling and being able to visit, as well as what can and can not be open due to the unknown regional lock-downs.

FUN LAB

MANIFESTO

ARC6111 How many of us keep going back to that same café, restaurant or bar?

Those places have in-printed a memorable, positive experience that we can't seem to let go of. Was it the interior? The food? The person you were with? Or, a combination of all? Regardless, as humans we love comfort and knowing that when we experience something that makes us happy, we keep going back for more. It becomes our happy place, like a drug, we become addicted.

Let’s talk about food...

Food is what brings people together, it unifies and teaches us about the world and what we like and dislike. It heightens our senses; we see good food, we want it. We smell something mouth-watering; we want it. We hear about this amazing place that serves great dishes and we’re all in.

Cooking is another story...

This is where the love happens. The process becomes an art, each slice, each spice, becomes enticing. Therapeutic for some and hectic for others. Regardless, it is also a life lesson. It educates us by making us more conscious of what it is we’re putting in our bodies, as they say: healthy mind, healthy body results in healthy life.

THE FOOD MEMORY aims to bring all those desires, happy experiences, and most importantly FOOD into an interior space. With social distancing, lock downs and limitations we have all become distant – disconnected and lack the usual experiences we would normally have. This results in us becoming isolated, increasing anxiety, depression and all the negative baggage weighing us down. Let’s come together once again; live, laugh, eat, cook and really enjoy the moment by creating memories.

What do you say?...

Cooking The Cooking Library is an immersive cookery environment in Seoul’s Yeongduengpo. It’s interior and materiality highlight an industrial feel, featuring high-end European furniture.

The place engages customers in an analogue way with varies aspects like; travel, music, design and cooking According to the designers of Blacksheep the aim of the project was to create an inspiring world where craftsmanship provided fundamental luxury, tactility inviting human touch and analogue detailing whereby customers can get lost in the romance of time.

MANIFESTO - CASE STUDY

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THE

FUN LAB

How can I use this in my own design?

The concept behind The Cooking Library is that it is a multi-functional space: it provides and educational aspect and allowing users to immerse themselves with the cooking. It also allows users to move around both floors - the mezzanine is where the library is situated while the cooking area is beneath, creating a hierarchy within the space. The two floors seem to create a separation between the two areas but, by using a mezzanine it creates that transparency and somehow uniting the two.

These elements I can take forward into my scheme, creating a multi - functional space that educates users and still focusing on the cooking and dining aspect.

Materialty wise, it takes a more industrial look to what I would want to incorporate into my design. Although there are some material elements I will be using for example, the structural installation in the second image below, will help me to subdivide a space by using mobile structures that can be easily removed.

It also allows for that transparency,.

CASE STUDY 1.0

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Y

HANGE

INTUITIVE

re

ENGAGING

ORGANIC

CULTURE

OBESI

NO FOOD WASTE balancing

KATJA

Gruijters’ approach to design is varied and her passion for food has led her to creating some amazing, interactive, and sensual food installations and exhibitions.

Her core concept when designing these is collaboration and research.

As she states “I’m specialised in food design, and within this area I like to work with experts like graphic designers and chefs to create a complete product line or an experience, or I’ll develop my own point of view.”

One of her major aim is to educate and share her thoughts and experiments with not just clients but, food companies in their design innovation.

Gruijters has taken on multiple workshops really exploring the way people react to some of the elements she has developed, in order to create discussions amongst the crowd.

HOW MAY THIS INFLUENCE MY DESIGN? Gruijters approach to food design is one I will be taking forward into my design.

I love the idea of creating something interactive, sensual and analysing the way people react to those elements. In my design scheme I want people to really experience not only the food around them but, the atmosphere of the space through the senses; smell, noise and feel of their surroundings.

Additionally, many of the materials and overall aesthetics of her work takes a very natural approach - one that I wanted to implant into my own work. The use of natural elements like, plants, wood, and lighting to influence the dining experience.

01

CASE STUDY 1.1

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‘ DATE WITH NATURE’

KATJA GRUIJTERS

At Boisbutchet, diners were invited to enjoy a meal on the wooden decking, surrounded by nature and water under their feet. The lake played an important role in creating a very casual, and relaxed dining experience. The cool water was used to cool a summer gazpacho and a stone bread oven that were all baked fresh by participants.

The food the diners were served were easily edible - finger food on skewers and mounted and built to match the length of the wooden decking.

This project of Gruijter focuses on the theme of preservation and the extreme realities of overproduction and food waste. A major issue that seems to be rising globally. Through these preservation techniques it showcases hanging fruit leathers her studio created which visitors were then encouraged to taste. Additionally, guests where also invited to make clothing out of these fruit leathers, as well as taste edible perfume sprays.

This edible and interactive installation challenged the regulations that affect the food industry.

02 ‘ FRUIT LEATHER’

FUN LAB

CASE STUDY 2.0

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NATURE

CUBIC

GEOMETRIC

ANGUL AR

The concepts behind many of Fujimoto's work is focused on the relationships between both architecture and the built environment. He is inspired by nature and their organic structures; for example, nests, the cave and the forest. This has been influenced by his upbringing in Hokkaido, surrounded by forests and wildlife. He believes that the relationship between architecture and nature should not feel like it is intervening but, instead they are both complementary Integrating the two can create a higher quality of design.

Fujimoto also believes that architecture should be linked with people's lives. Like nature people grow and change and if people care and are happy in their built environment they more likely to take care of it.

HOW MAY THIS INFLUENCE MY DESIGN? Fujimoto has respect for both nature and architecture and I love how he is able to create amazing structures that complement each other. This is one I will be exploring in my design scheme - the relationship of nature and its positive affects on the people within an interior. The Jewellery Quarter itself has minimal natural elements, so by bringing outside in, it brings something new and fun into the interior.

He also takes into consideration existing surroundings and really understands the impact it can make when designing. This is a factor I will also be considering as the building I will be working with is grade II listed.

SOU

FUN LAB ARC6111

SOU

CASE STUDY 2.1

JAPANESE ARCHITECT

FUJIMOTO

THE FINAL WOODEN HOUSE This house was created using Lumber wood as it was seen to be a very versatile component. The overall design was envisioned to create new spatiality preserving primitive conditions of a harmonious entity before various functions and roles differentiated. Each structural piece became one; the walls, floor and ceiling all became multifunctional.

The floor became a seat, a ceiling and the wall formed in various positions.

Each structure is configured in a cleaver way, fitting with one another to house the various functions of the house.

Underneath are some of the drawings of the configuration of his design.

Each one showcasing how each lumber wood would sit surrounding the glazed windows.

Fujimoto’s work and ethos of design is very similar to mine and one that links well with my concept for my project. The structures and concept behind The Final Wooden House in Kumamoto, Japan takes a similar structural element to an installation I will be creating in my FunLab. He has taken a very organic, natural approach to design ensuring that nature and architecture can both work seamlessly together. Like many of his work I will be doing the same, incorporating many natural elements within an existing space.

digbeth

CASE STUDY 3.0

Digbeth Dining Club was first founded in 2012, it is a street

food event that is hosted around the Midlands and has won many awards. For example, it was voted Britain's best Street Food event.

Digbeth Dining Club works with some of the best food traders around the U.K. ensuring that customers get the best of the best. It has a range of cuisines at an affordable price. The entire even has changed the usual dining experience and has changed the city's food landscape.

Why is Street Food so trendy???

dining

Street food has become really trendy at the moment because of various reasons. For example, it is different from sitting down at a restaurant, a cheaper and faster alternative. The low cost makes people more likely to try new foods because realistically who wants to spend ÂŁ50 of a meal that doesn't even fill your plate? No Thank you... next!

The food is often cooked right in front of you, adding an educational aspect to the dining experience.

Additionally, the transparency eases people's fear because you know exactly what is being added to your food, how it's being cooked and the overall hygiene of the kitchen.

You can eat it on the go which is brilliant for us busy bees. We all have such busy lifestyles (only having an hour for lunch), we don't have time to wait around all day and this is where street food comes in handy.Talking about getting up and going - street food stalls and trucks are mobile, they can be parked anywhere (with permission and permits in mind of course.)

Plus the atmosphere, music, and food combined is a perfect picture opportunity for the GRAM! #foodie #streetfoodaddict #vibes

How will this influence my design scheme???

The overall street food aspect fits perfectly within my design scheme. As we know the Jewellery Quarter is a pretty fast paced location, much like the rest of Birmingham City Centre, people need something new, quick, and easy to grab and go.

CONCEPT DEVELOPMENT 1.0

FUN LAB ARC6111

My concept was heavily influenced by my game - Jenga. I played the game and analysed the way pieces were moved, layered and placed on the tower. I took pictures of each stage from beginning, middle and end when it had fallen.Its structural element also linked in with Sou Fujimoto's work while materiality linked in with both Fujimoto and Gruijters (using natural elements within their work).

The three pictures then became my three conceptualideas.Using three because there are three rows of Jenga blocks, but it can also relate back to the 'rule of thirds' - which helps maintain a good balance.

What interested me the most whilst playing was the fact although the game structurally is very symmetrical before it gets played, when pieces are moved around the shape takes a different form. There is still balance even if there aren't three blocks holding it together. I used this idea to then inspire my design - what if I could design an interior installation that uses similar structural elements but, moving the pieces so they had a different purpose.

n

e

j

g

a

SYMMETRY STRUCTURE

RULE OF THIRDS

ORDER

BALANCE

1

Taking the Jenga concept forward, I looked at its structural element and then developed it further. I took pieces out as if I was playing to get to a structure I was happy with.

2

Once the 2D structure of the game was finalised, I then rotated the drawing giving it a different overall form which then became an idea for the installation.

3

4

Taking the 2D drawing, I then turned it into a three dimensional model rotated on its side then split it into three.

These three structures will be my main installation piece. I can then add other details and forms that can add to the fun aspect.

CONCEPT DEVELOPMENT 2.0

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The Basement Level: Will serve street food - quick, easy to cook, and a cheaper alternative to going to restaurants. The benefits of having street food is that it is cooked in front of the customer - this will enable them to really immerse themselves with the cooking and will be an educational process as the same time.

Holding a street food hall in the basement will add to the atmosphere because of its limited natural lighting and it will be an opportunity to recreate the mood.

The Ground Floor: I have chosen to remove the existing mezzanine floor to give the space more height accommodating for the installations. This floor will be divided into two - both parts will focus on a more fun element, creating an interactive space and really challenging the norm associated with the way food is displayed, eaten and cooked.

Exhibition space: Will hold installations showcasing edible food that will be hung - similar to the Katja Gruijters installations.

People are then able to interact and taste the food.

EXH I SPA BITION CE STR

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Fun space: The other half of the ground floor will have an adult playground like installation. This will be multi-functional similar to Sou Fujimoto's wooden house - incorporating both the cooking, dining and eating aspect of my design scheme.

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STREET FOOD HALL: A dining hall serving street food - similar to Digbeth Dining. The basement level will be a more casual dining area and there will be four smaller kitchens, each serving different dishes.

W/C: Disbaled and uni-sex toilets.

R U JO

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R E Y S E U N

FUN LAB

DEMOLITION PLAN - BASEMENT LEVEL

CONCEPT DEVELOPMENT 3.0

DRAWING NOT TO SCALE

Internal Wall structured moved and door removed to allow easy access. New doors added and new toilets to be added into place

DEMOLITION PLAN - GROUND FLOOR

CONCEPT DEVELOPMENT 3.0

DRAWING NOT TO SCALE

Internal partition wall to be added - creates a some separation between the two spaces and helps regulate the flow of people.

Seating Area: A space bringing ‘outside in’ with indoor plants and benches and tables where people eat in a casual and relaxed manner.

Existing mezzanine floor removed to create a higher ceiling, giving extra space for installation.

MAIN ENTRANCE

Exhibition Space

SECONDARY ENTRANCE

The user journey of the space is quite free flowing, there are no limitations on where people can go. There are two levels - each occupying a different mood and experience. The user can chose where they want to start and end.

The thing I want users to have by the end of their journey is a memorable experience.

As shown on the diagram on the right, street food and fast food are located on the lower tier - the lower tier can be where users go first to have a quick, casual dining experience and as they move up to the next tier they are confronted by an exhibition/ installation and initially the fun space. But, throughout their journey elements of bringing 'outside in',sustainability and food waste willallbe partoftheiruserexperience.

WC (Uni-sex/ Disabled):

Moved to the side of the building away from the main space, allowing the centred areas to be showcased.

Kitchen 01/02/03:

These will replicate pop up food stalls, each serving a different culturally dish. Inspired by the fast pace environment of the Jewellery Quarter.

Fun Space

Exhibition Space:

This will exhibit some time of food sculpture or piece where users can interact with pieces. The space will be mainly open, allowing users to walk around the space freely.

Fun Space:

This will be where the main aspect of fun will be held. It will be divided from the exhibition space with an internal wall but, majority will be open, giving people easy access to both.

CHOSEN ASPECT: INTERIOR PROP

pr op s

1:2 al 0 e

SCALE: 1:20

R O I R E T N I sc

My chosen aspect is interior props at a scale 1:20. The reason for choosing this is because interior props are generally removable and mobile which works perfectly in a grade listed building because it has less impact on the building's existing body. Additionally, creating an interior prop that is mobile links in with the fast, ever-changing trends around us as it can be easily adapted.

Interior props are often used to add to an existing space, giving it more character, texture, and a certain ambience the designer wants to portray. In this instance, it will be focused on creating a sensual; playful, fun and a memorable dining and cooking experience.

Props can be loosely identified into four categories: Accessories, Furniture, Fixtures and Equipment. I will be mainly using two of these.

Accessories - ornaments, art, sculptures, soft furnishing etc., that give the interior a sense of habitation and 'embellishes' the space. These can also possess a psychological meaning, creating a more emotional significance and story.

Furniture - are looser items that can easily be removed, such as, chairs, desks, partitions etc. For my interior I will be using benches, dining chairs and tables - relating to the purpose of my design scheme.

INTERIOR INstallatiON

1

ONE

DETAILED DRAWING

FRONT ELEVATION I

FRONT ELEVATION II

FRONT ELEVATION III

INTERIOR

FRONT ELEVATION

INstallatiON

2

TWo

Timber framed structure with hanging hand food. The installation is divided by a plastic sheet, reducing the spread of COVID - 19.

PLAN VIEW

scale: 1:20

JOINERY DETAIL

FUN LAB

CONCEPT DEVELOPMENT

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INSTALLATION

DRAWINGS DEVELOPED

Bibliography Case study 3.0 (Digbeth Dining Club) (12 reasons why street food is popular, 2020) Streetfoodcentral.com. 2020. 12 Reasons Why Street Food Is Popular. [online] Available at: <https:// www.streetfoodcentral.com/post/12-reasons-why-street-food-is-popular> [Accessed 25 October 2020].

SOU FUJIMOTO CASE STUDY PAGE 1: Serpentine Pavillion: Etherington, R., 2020. Serpentine Gallery Pavilion 2013 By Sou Fujimoto Opens. [online] Dezeen.

Available at: <https://www.dezeen.com/2013/06/04/serpentine-gallery-pavilion-2013-by-sou-fujimoto/> [Accessed 23 October 2020].

Wooden house - picture by: Vincet Hecht Divisare. 2016. Sou Fujimoto Architects, Vincent Hecht Rental Space Tower. [online] Available at: <https://divisare.com/projects/325092-sou-fujimoto-architects-vincent-hecht-rental-space-tower> [Accessed 23 October 2020].

Inhabitable Nomadic Structure for Parisian Art Fair Rosenfield, K., 2017. Sou Fujimoto Constructs Inhabitable Nomadic Structure For Parisian Art Fair. [online] ArchDaily. Available at: <https://www.archdaily.com/561811/sou-fujimoto-constructs-inhabitable-nomadic-structure-for-parisian-art-fair> [Accessed 23 October 2020].

CASE STUDY PAGE 2: Japan House London. 2020. Who Is Sou Fujimoto? | Japan House London. [online] Available at: <https:// www.japanhouselondon.uk/discover/stories/who-is-sou-fujimoto/> [Accessed 16 October 2020].

PIC: Final wooden house, Kumamoto, Japan - Sou Fujimoto Architects “Final Wooden House / Sou Fujimoto Architects” 23 Oct 2008. ArchDaily. Accessed 16 Oct 2020. <https://www.archdaily.com/7638/final-wooden-house-sou-fujimoto> ISSN 0719-8884

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