Dancing Sensations

Dancing Sensations

Programme : MA Interior Design 2014 – 15 Module : DES 7054 – PERSONAL PROJECT PRACTICE Student ID : S14105522 Student Name : Yen Hsiang Lin Tutor : Delia Skinner

CONTENTS PAGE

AGENDA

CONCEPTUAL CONTEXT

IDEATION

DESIGN MANIFESTO

CULTURAL IDENTITY

CASE STUDY ANALYSIS

DESIGN COLLABORATION

NEEDS ANALYSIS

INSPIRATION

DESIGN DEVELOPMENT

FINAL PRESENTATION

REFERENCE

Issues & Problems -­‐ C.A.P.E.S Opportunity -­‐ C.A.P.E.S PotenLal Design InnovaLon

WHAT -­‐ FaciliLes and Experiences WHY -­‐ FuncLon and Benefit WHO -­‐ Client x Staff x Users WHERE -­‐ LocaLon x Site x Community

AnLthesis Photomontage Thesis Phototmontage

Polices -­‐ Extrinsic Design Rules Principles -­‐ Intrinsic Design Rule PracLce -­‐ Project Schedule x Process Map x Design Method

Brand Message -­‐ Values Statement Graphic & AestheLc -­‐ Signature x Symbol x Style SemioLc NarraLve -­‐ Encoded Visual Stories & Metaphors

Case Study 1: The Cumulus C.A.P.E.S Brand & Trend Analysis Commodity x Firmness x Delight Architecture Analysis Design Principles Analysis

Case Study 2: The Tape Paris C.A.P.E.S Brand & Trend Analysis Commodity x Firmness x Delight Architecture Analysis Design Principles Analysis

WHO -­‐ Expert x Authority x CreaLve WHEN & WHERE -­‐ Time x Place x Protocol HOW -­‐ ContribuLon x Catalyst x CriLcism

Client x Staff x Primary Market Visitors x Secondary Market Visitors

Form & FuncLon Materials & Technology Experience & PercepLon

Experimental Process 2D Zoning & SpaLal ComposiLon Sketches of FaciliLes 3D Modeling of FaciliLes 4D Storyboard

Scheme of Design SpaLal DesLnaLons Design Details

Fig. 01 The Hakanaï in Paris (2013) The wavy lines are be show by the projectors and also those lines are surrounding the performer then it created a space that could be convert by the images of projecLons. Source (annamonteverdi, 2014)

Human 5 senses

POP-­‐UP HUMAN SENSES POSSIBILITY FUTURISTIC CONTRIBUTION

Dancing SensaPon A pop-­‐up interacLve art pavilion designed to delight and thrill parLcipants, and to raise awareness of a new inclusive horizon for Sodspace Architecture. Coupled with the work of the civil design collecLve Umbrellium.

Issues & Problems Human senses are interested in different experiences which affect expression and reacLon of the spaces’ form and size.

Combining spaces and arLficial intelligence presents possibiliLes to achieve new values for the environment and life, as well as space movement or aderimage interacLon that allows people to that the feel the space or building is living.

PotenPal Design InnovaPon The use of technology and reflecLon establishes the architectural installaLon. Akin to an actor, combined the NBCW museum, together forming a 5 senses message, being; touch, movement, auditory, smell

Opportunity of the Dancing SensaPons

and visually.

Users upon the journey will engage with the space emoLonally, touched by sensory reacLons that are told in the digital narraLves and innovaLve

Sodspace can interact with human senses and also inspire the expression of architecture.

Understanding the space, combining, and celebraLng organizaLon’s to allows users

expression on display. The installaLon will be able to reflect on their paherns of behaviour, and their potenLal to contribute untold possibiliLes, and creaLvity in the future. The installaLon set within the

to understand the possibiliLes of spaLal expression in the future.

Using contemporary equipment and materials to represent architecture, using projecLons and reflecLons. Has the potenLal to create an unreal space, perceived as walls and physical barriers, creaLng the percepLon that architecture can perform.

courtyard space uses the principles of human sensory reacLon to facilitate a central point of focus. That point being; performance architecture and behaviour.

The installaLon ahempts to interact and ahracLve, allowing the user to become a key element in the creaLve and innovaLve space. InteracLve technology and sensory impression will be installed onto the exterior of Fig. 02 The photomontage of the interacLve performance The photomontage shows the dancer is dancing with the projecLon which provides different width and depth of the performance possibiliLes in the future.

Source (Lin, 2015) Created by author.

the pavilion to ahract visitors to engage with the space. In addiLon, creaLng dialogue with the space through sod spaces will support the sensory reacLon paherns of the user and sLmulate new behaviour possibiliLes.

What

DIGITAL NARRATIVES STAGE DESIGN MEMBRANOUS VIDEO MAPPING

To design an art installaPon that challenges new possibiliPes of communicaPon between human senses and space.

The design schemes objecLve aims to be an interacLve installaLon. To challenge the possibility of the space performing. To engage and ahract human arLsLc senses b y i n c o r p o r a L n g a n d c o m b i n i n g technology to promote the scheme.

Design Project Aims:

An evenkul, sensory and interacLve art Sodspace architectural installaLon for the civil design acLvist group Umbrellium.

Approaching An evenkul and interacLve pop-­‐up art installaLon that will inform and ahract users to parLcipate in an entertaining, interesLng, communicaLve and engaging experience.

ParPcipaPng The entrance path provides different forms of pathways. The first impression of the installaLon being to subvert the users thoughts and encourage engagement with the space.

Why InteracPon The installaLon provides an environment which is supported by the exisLng building on different levels. As a result the atmosphere changes and adjusts through the varying users. CreaLng a golden t r i a n g l e o f c o n L n u o u s , c h a n g i n g relaLonship between each. Furthermore, internally and externally the installaLon f o r m s d i ff e r e n t e x p r e s s i o n s t h a t symbolically represent the possibiliLes of this relaLonship.

Traversing To create a transiLonal space by connecLng two components, thus dividing the areas. Including different levels to produce a journey narraLve of varying hierarchies through the installaLon.

Performing The final part of the journey is related to the dialogue between the building and the installaLon. Using technology to combine visual elements connecLng the site, supporLng and allowing the architecture to perform.

Fig. 03 The double page photomontage The photomontage shows the first image of ideaLon which reflects human behaviour in different ways.

Source (Lin, 2015) Created by author.

Who The users can divide into 4 parts that are:

UMBRELLEUM PROMOTION EDUCATIONAL EVENTS COMBINATION FUTURE POTENTIAL

Sponsors & Clients The Umbrellium works across the world. working with communiLes, organisaLons, urban developments and city councils to d e l i v e r p r o j e c t s u s i n g a p r o v e n methodology that gets people involved in design acLviLes, decision-­‐making and defining project goals.

Source (umbrellium, 2015)

Flatpack is a fesLval which incorporates venues across Birmingham in the month of March. It draws people from far and wide with a mixture of films, performances, contrapLons and surprises.

Source (flatpackfesLval, 2015)

TinBox is a Birmingham based theatre company founded by Directors Jo Gleave and Jo Newman. Together with a team of collaborators they create theatre that explores invenLve uses of storytelling, v i s u a l t h e a t r e a n d s i t e -­‐ s p e c i fi c performances.

Source (Lnboxtheatre, 2015)

Staff Volunteers of the museum, together with cleaners and engineers would be the main staff during the event. In addiLon, it would be possible to combine university and higher educaLon organisaLons to promote and involve students in the events.

Visitors The target users would be students and creaLve designers. The event could provide a source of inspiraLon, and a plakorm to exchange and promote the art and design ideas, via students and visitors to Birmingham.

Fig. 04 The double page photomontage The photomontage shows different user ranges of the events.

Source (Lin, 2015) Created by author.

Where What

HISTORICAL MEMORY COURTYARD PECULIAR MUSEUM ENGLISH BOND

Create an educaLonal, arLsLc and sensory installaLon, appealing to users within the environment of the Newman Brother's Coffin Works. Thus increasing knowledge

Fig. 06 The courtyard of Newman B r o t h e r ’ s C o ffi n W o r k s i n Birmingham The Coffin Works project focuses a historic coffin fipngs factory with its “Lme-­‐capsule” contents, and on the human stories behind the 100 years of operaLon, highlighLng the industrial processes and the lives of the workers and owners.

Source (Lin, 2015) Photo taken by author.

of, and promoLng this historical museum.

T o g e t h e r w i t h t a r g e L n g a n e w demographic. ArLficial intelligence will be used for educaLonal and promoLonal work.

When

Fig. 05 The logo of Newman Brother’s Works Source (Lin, 2015) Photo taken by author.

NOTE 1. This drawing is copyright.

This will take place during the annual Flatpack Film FesLval and the TinBOX event in Birmingham.

2. All dimensions must be checked on site before proceeding.

3. Dimensions of new work are to be adjusted to suit the existing

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or details are plumb, square or level.

4. The contractor must report any discrepancies to the architect before proceeding.

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5. All products are to be used strictly in accordance with the

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manufacturer's instructions.

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UNIT 7/G07 STUDIO / OFFICE 3 Approx 58 sq.m

DG28

DG09A

G06A

up

UNIT 7/G07 STUDIO / OFFICE 3 Approx 58 sq.m

DG28

Hoist

G06 STAMP ROOM

WG07

Hoist

G07A

G05 POST ROOM up

WG06

up s.v

DG06

WG13

WG12

WG11

rwp

rwp

DG08

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G02 RECEPTION / SHOP

DG20A

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G08A

WG19

G09A

Actual

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shelf

G13 LOBBY

DG18A

DG20C

DG03

G11 WC'S

DG13

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G01 ENTRANCE LOBBY

G03 CLEANER'S CUPBOARD

G12 STORE

PLATFORM LIFT

DG11

DG03A

G13 LOBBY

DG18A

DG20B up

DG01

G03 CLEANER'S CUPBOARD

G01 ENTRANCE LOBBY

G11 WC'S

G12 STORE

F

G08C BIN STORE

Actual G08 WORKSHOP Approx 31 sq.m

G09 MEETING ROOM Approx 30 sq.m

DG15

PRELIMINARY

Rodney Melville + Partn ers

Ground Floor approx 179sq.m/1927sq.ft

C H A RT E R E D A R C H I T E C T S H I S TO R I C B U I L D I N G C O N S U LTA N T S

PLATFORM COMMERCIAL UNITS LIFT

G07/Unit 7

DG12B

REVISIONS Rev A - Communal areas outlined 05/14 HG

DG16

MUSEUM AREA DG20C

DG03

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DG12A

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G10 DISABLED WC

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G09 MEETING ROOM Approx 30 sq.m WG02

DG02A

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G10 DISABLED WC

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G08 WORKSHOP Approx 31 sq.m

DG12

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Notional

PRELIMINARY

REVISIONS Rev A - Communal areas outlined 05/14 HG

L E A M I N G T O N S PA

Ground Floor approx 179sq.m/1927sq.ft

CV32 4LJ

T 01926 881311 F 01926 451766

G09

Why

COMMERCIAL UNITS

E arc hit ec ts @ r m pu k. co m

G07/Unit 7

w w w. r m p u k . c o m

approx 30 sq.m/323 sq.ft

COMMUNAL AREAS

R o d n e y M e l v i l l e a n d Pa r t n e r s L i m i t e d Client

Birmingham Conservation Trust Project

G09

approx 30 sq.m/323 sq.ft

Provides opportuniLes to combine events with organizaLons, allowing younger generaLons to understand the history of NBCW, together with Birmingham’s industrial history. The design will use contemporary equipment to represent and

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architecture to perform.

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10m

WA R W I C K S H I R E CV32 4LJ T 01926 881311 F 01926 451766

w w w. r m p u k . c o m

R o d n e y M e l v i l l e a n d Pa r t n e r s L i m i t e d

Client

Birmingham Conservation Trust

COMMUNAL AREAS

Newman Bros. Coffin Fittings Works, 13-15 Fleet Street, Birmingham B3 1JU

Post Completion General Arrangement Ground Floor Plan

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L E A M I N G T O N S PA

E arc hit ec ts @ r m pu k. co m

Project

Title

2

1 0 E U S TO N P L AC E

approx 58 sq.m/624 sq.ft

COMMUNAL FACILITIES

Newman Bros. Coffin Fittings Works, 13-15 Fleet Street, Birmingham B3 1JU

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C H A RT E R E D A R C H I T E C T S H I S TO R I C B U I L D I N G C O N S U LTA N T S

Fig. 07 The floor plan of NBCW museum The locaLon of installaLon is at the centre of the building which is the atrium space and also a outdoor area.

Source (Melville, R., 2015) WA R W I C K S H I R E

approx 58 sq.m/624 sq.ft

Rodney Melville + Partn ers

MUSEUM AREA

1 0 E U S TO N P L AC E

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COMMUNAL FACILITIES

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acLviLes such as the Flatpack Film FesLval.

Within a poeLc art space made by interacLve architecture, sod space, entertainment, film and a sensory ahracLon to provide new experiences of human behaviour to appeal to younger generaLons. Performance architecture and sod space will be the highlight of the event.

building where necessary. Do not assume that the existing structure

manufacturer's instructions.

up

The locaLon will be in the courtyard of Newman Brother’s Coffin Works.

Located in the centre of Birmingham, next to the canal and the University College of

How

3. Dimensions of new work are to be adjusted to suit the existing

5. All products are to be used strictly in accordance with the

up

Where

1. This drawing is copyright.

2. All dimensions must be checked on site before proceeding.

before proceeding. up

Birmingham. NBCW has recently opened ader significant refurbishment. It cooperates with schools and organisaLons, providing a creaLve venue to host

NOTE

building where necessary. Do not assume that the existing structure or details are plumb, square or level.

4. The contractor must report any discrepancies to the architect up

up

Scale

1:50 @ A1 1:100 @ A3

Job No

Date

Apr 2014

Drwg No

Drawn

RH

Rev

Title

6491

Post Completion General Arrangement Ground Floor Plan

SK 119 A

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10m

Scale

1:50 @ A1 1:100 @ A3

Job No

Date

Apr 2014

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RH

Rev

Fig. 08 -­‐ 17 The floor plan of Newman Brother’s Coffin Works A -­‐ The main gate of the museum which let car and staffs go though.

It also a main entrance of the courtyard in this project.

B -­‐ There is a original window next to the gate, as the photo shows the wooden and metal combinaLon detail on the top of it.

C -­‐ It is the type of window structure in the museum, and also it shows the detail of the funcLonal transom window.

D -­‐ It is a groove as a cave at the end of the courtyard, as well as it shows the possibiliLes of fasten installaLon’s structure.

E -­‐ The original doors have different funcLon that connect several interior spaces and it includes the stair pathway.

F -­‐ This unused window led the structure, as the photo shows some parts of frame had damaged then represent the face of the exterior.

G -­‐ The material combinaLon with contemporary glass frame and historical brick structure which shows the contrast of the scene.

H -­‐ The pahern of the brick used the English bond, it is the tradiLonal construcLon method during that period.

I -­‐ The one of drain types in the courtyard, the pahern of floor Lles with the drain cover have different dialogue between each other.

J -­‐ The other drain type in the courtyard, the side of drain had been designed higher than the ground floor that obstruct the defoliaLon. Source (Lin, 2015) Photo taken by author.

6491 SK 119 A

AnLthesis SWANKY

RIGID HOMOGENEOUS

HEAVY STRUCTURE

FLAT

BLIND ANGLE

MOTTLED DARK

NORMAL

NONINDUCTIVE

Thesis ORGANIC SHAPE

FUTURISTIC CONTRAST

LAYERED

CONCEPTUAL

JOURNEY

SKIN AUSTERE

DIGITAL SUPPORT

METAPHORIC

Fig. 18 The double page photomontage The photomontage shows the ideaLon of anLthesis and thesis.

Source (Lin, 2015) Created by author.

Policies The So[ Space Sodspace deploys innovaLve spaLal systems including RFID, Wi-­‐Fi, wearable compuLng and custom-­‐designed digital sodware incorporaLng sound, heat, light and electromagneLc fields (Haque, 2007).

These not only rely on the individual interacLon, but are enriched by narraLves of contribuLng people, creaLng new metaphors of use (Haque, 2007).

Architectural design that emphasizes “sodspace” over “hardspace” is like “sodware” design rather than “hardware design” in computer terminology, where “hardware” refers to the physical machine and “sodware” refers to the programs that animate the machine (Haque, 2004).

Sodspace encourages people to become p e r f o r m e r s w i t h i n t h e i r o w n environments, then hardspace provides a framework to animate these interacLons.

Designers assume that such systems in architecture can deal with the pracLcal a n d f u n c L o n a l r e q u i r e m e n t s o f constructed spaces then the design comes from the needs of those who use and implement it.

Fig. 19 Usman Haque He is an architect specializing in responsive environments, interacLve installaLons, digital interface devices and mass parLcipaLon performances. His skills include the design of both physical spaces and the sodware and systems that bring them to life.

Source (archiboo, 2014)

Fig. 20 The photomontage of project, designed by Usman Haque The photomontage shows the several projects of sod space and created the visual atmosphere to visitors when they approached it.

Source (Lin, 2015) Created by author.

Principles ORGANIC SHAPE

FUTURISTIC

CONTRAST

LAYERED

CONCEPTUAL

JOURNEY

SKIN

AUSTERE

DIGITAL SUPPORT

METAPHORIC

Resemble natural environment by design.

To encourage the incorporaLon of new materials and technology in the construcLon industry.

To highlight the installaLon, must also it must be disLnct on site.

Different layers provide the hierarchy of the journey.

Engage visitors through their senses.

Promote the visitors' physical parLcipaLon within the space.

Combine innovaLve materials.

Keep simple, without excess and luxury.

Challenge human senses and the possibiliLes of concept by technology.

The narraLve design between the installaLon and the architecture created by usermovement.

PracLce -­‐ Project Schedule x Process Map x Design Method

Development CommunicaPon & Summarize of Key Aspects of the Project

InspiraPon Ideas

First Approach to Sketch

Struct

Agenda

InspiraPon Research

Possible Experiences & CreaPon of FaciliPes

Sketch

Start to Development

Site Analysis

Concept &

Problem Solving

Idea

T P E C N CO

Work OverPme &

ure

Analysis of Policies & Principles of Design

IniLal

Idea

Study Model Making

Analysis of Successful PracPces & CorporaPon

of

The

Without Sleep

Target Profiles IdenPficaPon

ConstrucLon

Relax & Lazy

gy o l o n Tech

IN TER CRIT

Dancing SensaPons

SLEEP

Brand IdenLty & SemioLc NarraLve

IN TER Relax & CRIT Lazy

Time RESTART

RESTART Study of Material & Technology Mood

InformaLon UpdaLng

Work OverPme & Without Sleep

Final Images & CommunicaLon Adjustment

PrinLng Porkolio

Hand In

Design

ModificaPon Design Development of Experimental Process & Digital Model Making Final PresentaLon of Axonometric & Details

Fig.21 The shadow The photo shows the flickering image between the light and the person, and the key element is the material which lets the light goes through and also could let the shadow be show on it.

Source (havokjournal, 2014)

Message Graphic AestheLc SemioLc NarraLve Design Mission Statement of Design Proposal

Fig. 22 The Cumulus The photo shows the installaLon provides the experiences that visitors can interact with it, and also feel relaxing and peaceful inside.

Source (dezeen, 2014) Photo taken by Thomas Lewandovski.

Fig. 23 The Double Spaces The installaLon used the reflecLng mirrors to show the space in different angles and narrate the reacLon of the architecture in the V&A Museum.

Source (dezeen, 2014)

• Inspired by the project called The Cumulus. • An experienLal installaLon will be designed to take visitors on a physically and sensory journey.

Same has a simple structure and ProjecLoned paths leading to personal vision spots, contrasLng shape to the environment, brilliant white in colour. The project aimed accompanied by digitalized video designed to to challenge human senses, a raised introduce the interacLve installaLon. installaLon to tree canopy level, with elasLc fabric skin providing different spaLal • Taking inspiraLon from spaces devoted to challenge experiences. human senses and create a dialogue with the architecture. A metaphoric space acLng as an interacLve assembly for the sharing of interacLon • Furthermore, the Double Space project designed for BMW by designer Barber and between art, reflecLon and individual movement Osgerby used a rotaLng mirrored structure created by users. to reflect the space in V&A. The space being peaceful and elegant, the installaLon • The dialogue message aims to deliver an installaLon let the interior contrast its atmosphere, which allow users to touch the elasLc skin inside the installaLon, and it will duly affect the reflecLon upon creaLnga placid rhythm. The project the outer skin. The building exterior reflects the dialogue with the space and art, means that reflecLon could let the space stand interacLon changing shape through movement from out and highlight itself. Significant touch. potenLal to promote the interior through contrasLng technology of the future.

Case 1 The Cumulus German 2014

by Iranzo, J. / Rihler, S. /KesLng, K. Permeable fabric skin of graduates from Germany's Burg Giebichenstein University of Art and Design’s inhabitable installaLon. Which allowed moisture permeate the space, designed to make users feel like they are inside a cloud.

Source (dezeen, 2014)

Culture The NNUl Giebichenstein University of Art and Design exhibiLon, provides the stage for graduates to promote themselves and show how good they are.

Source (burg-­‐halle.de, 2012)

AesthePc The brief of this project was to make an installaLon or house taking inspiraLon from parasites.

Source (dezeen, 2014)

Economic CollaboraLon between the university and German texLle manufacturer 3DEA, who manufacture breathable polyester material with perforaLons.

Source (dezeen, 2014)

Social Raised above the ground on metal legs, the translucent, white structure cocooned users within the branches of nearby trees.

CreaLng a dialogue with the environment with the university campus.

Source (dezeen, 2014)

Fig. 24 The up-­‐view of the installaLon The photo shows the relaLonship between lights, fabric, shadows, people and the environment.

Source (dezeen, 2014) Photo taken by Thomas Lewandovski.

Commodity

A raised circle, the entrance is beneath the installaLon whereby the user accesses by climbing a ladder. The interior is a round space, providing a relaxing atmosphere. It is designed to resemble a cloud and it’s part of the university campus.

Firmness The structure intended to resemble a rain cloud, covered in a stretchy perforated material that exposes the inhabitants to precipitaLon rather than protecLng them from it. A tubular steel framework, designed to be easily assembled and disassembled, was wrapped in a white elasLc spacer fabric. A breathable polyester material with perforaLons made

by German texLle manufacturer 3DEA that reacted to the movements of people inside.

Fig. 25 The effect of performing between skin, shadow and lights The translucent fabric as the installaLon’s skin that provide the shadow effects by lights. It shows the movement inside at the same Lme. Source (dezeen, 2014) Photo taken by Thomas Lewandovski.

Fig. 26 The different atmosphere at the night During the night Lme, the installaLon has been present as the focal point in the campus. It is not only the spaLal art but also a sod layer stood into trees and the environment.

Source (dezeen, 2014) Photo taken by Thomas Lewandovski.

Source (dezeen, 2014)

Delight The structure resembles a cloud, a natural element in the sky. This allows the user to understand nature, use their senses to feel and see the materials and atmosphere in an innovaLve way.

Source (designboom, 2014)

Design Principles Form

Volume

Balance

T h e i n s t a l l a L o n i s a translucent white cocoon structure.

A white circle, a symbolic cloud.

Part of the environment.

is similar as a room.

ProporLon Scale

Movement The interior is a round space where the user moves in.

Rhythm

The effect of sunlight casLng shadows and movement.

Focal Point It stands in a wooden area amongst the trees.

Hierarchy The white cocoon structure sits at the same level as the branches of nearby trees.

Fig. 27 Under the installaLon There is a rope ladder to provide the only one pathway to get into the installaLon. The elasLc fabric lets visitors can sink into and be a part of it.

Source (dezeen, 2014) Photo taken by Thomas Lewandovski.

Fig. 28 Inside the installaLon The venLlated skin provides a breathing space of this project which allow people napping, chapng and relaxing.

Source (dezeen, 2014) Photo taken by Thomas Lewandovski.

Case 2 The Tape Paris Paris 2014

by Numen / For Use

The idea of the installaLon originates in a dance performance set design concept. In which form evolves from the movement of the dancers between pillars. The dancers stretch the tape whilst they move, so the resulLng shape is tape recording of the choreography.

Source (designboom, 2014)

Culture The main idea was to transform the whole building into a convulsive mind organism whose slippery inner limits. An exploraLon of trace and confront. The stretched biomorphic skin used in Tape Paris construcLon records the entry point, a literal incarnaLon of an inner directed, regressive environment. The sense of descent into the primordial, lingering around its openings.

Source (numen.eu, 2014)

AesthePc Curatorial concept delves into the murky territory of both physical and psychological i n t e r i o r i t y , t h e m a L c i m m e r s i o n , introspecLon and probing of the depths of itself.

Source (designboom, 2014)

Economic The material of this project are affordable and highly creaLve.

Social The curatorial concept delves into the murky territory of both physical and psychological impression, themaLc immersion, introspecLon and probing of the depths of self.

Source (designboom, 2014)

Fig. 29 The interior of the installaLon The organic structure is not only created by the several pathways but also it has a natural shape and texture.

Source (dezeen, 2014)

Commodity

Lengths of transparent film and sLcky tape wrap around the concrete columns of Paris gallery Palais de Tokyo. To form a network of hollows and tunnels in the installaLon. Visitors to the exhibiLon can climb into the series of translucent hollows for an out of body experience.

Source (dezeen, 2014)

Firmness The tape installaLon is made of tendons of transparent mulL-­‐layered adhesive tape stretched between columns of the former stock exchange building. The conLnuous wrapping of tendons results in a complex, amorphous surface. The process is reminiscent of growing organic forms. It took twelve people many days to wrap-­‐up the concrete pillars in the great entrancw hall into a maze of accessible translucent passageways. It coils fidy meters through the gallery space and reaches a height of six meters.

Fig. 30 The texture of the tape The translucent tape shows the natural texture, it also let light go through and it can see the people movement below you.

Source (numen.eu, 2014) Photo taken by Andre Morin.

Fig. 31 The completed shot of the installaLon As the photo, it shows the scale and the structure of the project which has been installed at different level that separate the space then gives several layers in this interior.

Source (numen.eu, 2014) Photo taken by Andre Morin.

Source (numen.eu, 2014)

Delight In the moment when the audience enters the installaLon, what started off as a sculpture seamlessly morphs into architecture.

Source (designboom, 2014)

Design Principles Form & Volume

Organic tendons shape.

Transparent art project set Balance into the space.

ProporLon Being part of the space.

Movement The scale connects to the columns and forms connecLng

links.

Rhythm Effects created by lights, movement and the interior.

Focal Point Installed seamlessly into the space.

Hierarchy Tape structure providing different levels and layers within the space.

Fig. 32 The making process of the installaLon The photo shows the installaLon used the columns to be the main structure and sLck on it as well as the installaLon became a part of space.

Source (numen.eu, 2014) Photo taken by Andre Morin.

Fig. 33 The making process of the installaLon The designer is using the tape to make the inner structure stronger and smooth which is similar as a tube.

Source (numen.eu, 2014) Photo taken by Andre Morin.

Fig. 34 The team of the Newman Brothers Coffin Works (2015) The photo shows the Coffin Works team with the work placements (the two at the middle) who is studying in University of Birmingham. And the team leader Sarah Hayes (first on the right) had photo with them.

Source (birminghamconservaLontrust, 2015)

Who

Fig. 35 The Business Card from Sarah Hayes Sarah’s business card. She can be contracted directly to resolve problems or answer quesLons.

Source (Lin, 2015) Photo taken by author.

Fig. 36 The organized record The photo shows Sarah is working in the room which has many boxes of objects in the Newman Brothers Coffin Works before the opening.

Fig. 37 The We Made It project Sarah created an event which provided an interacLve experience to allow visitors a first-­‐hand opportunity to make their own jewellery.

Source (assayofficebirmingham, 2012)

Source (linkedin, 2015)

Sarah Hayes

CollecLons & ExhibiLons Manager Sarah is a social historian and curator. In her blogs, she writes about her current projects, people being at the heart of each story. She recently has been invited to join the commihee of the Friends of the Centre of West Midlands History.

She has worked in a variety of posiLons across the museum sector in the West Midlands, since 2005. She graduated from the MA Museum Studies at the University of Leicester in 2008. Some of her roles are Research and Project Assistants on Heritage Lohery Funded projects at the Black Country Living Museum and Birmingham Museum and Art Gallery.

Source (sarahhayes, 2014)

Experiences

When / Where / How

Project Coordinator Social History Curators Group (SHCG) 2013 Commiaee Member Friends

of the Centre of West Midlands History 2013 Project Curator Birmingham Museums Trust, Thinktank 2012 Freelance Curator Birmingham Museums Trust 2010

13rd & 29th of May and 15th of July 2015, Newman Brothers Coffin Works

On 13th of May, the author went to the Newman Brothers Coffin Works to measure the dimensions in the courtyard, and met Sarah at the same Lme.

Oral Historian

Projects

Briefing the project to her, she then provided some suggesLons and offered her business card to contact if there are any quesLons.

On 29th of May, recommendaPons from Sarah were received via email: • The courtyard has a lot potenLal to create an exhibiLon and try to consider the

Irish Oral History Archive (IOHA) 2009

Exploring Medieval Birmingham, 1300 2012

This 'virtual' tour is based on the model Exploring Medieval Birmingham, now being showcased as part of 'Birmingham: Its People, Its History' at Birmingham Museum and Art Gallery. Visitors are able to discover Birmingham's medieval past by taking a tour through the heart of the 14th century town.

We Made It 2012 A £2.2 million Heritage Lohery Funded project that included the creaLon of a new gallery.

Source (linkedin, 2015)

value of the space and how to do it.

• Do not consider a glass roof.

• It could be an automaLc retractable waterproof canopy roof might work long term or the installaLon is waterproof.

• Think about the connecLon between the exiLng building and the installaLon. On 15th of July, recommendaPons from Sarah were received via email: • The design is very interesLng and the point need to focus on the visitors’ route and the safety issue.

• If the project is possible, think about how to deliver and assemble this pup-­‐up art installaLon into the site.

Client The Client Sponsors such as Flatpack and TinBOX, t o g e t h e r w i t h t h e D e s i g n W e e k Birmingham. Both related to art and design fesLvals.

Umbrellium / Flatpack / TinBOX

These three clients are professionals in Sodspace, film and performance fesLvals, they will highlight the event by: • Website • PromoLonal equipments • Partnership • • • •

University organizaLons Annual events Design map of this region Close transportaLon networks

Design Week Birmingham DWB is a mulLfaceted event that includes installaLons, lectures, film showings, exhibits, workshops and social gatherings inspired by the belief that design mahers.

Source (dwbhm, 2014)

During the event, strong promoLons that for the exhibiLon that is similar to Flatpack and TinBOX is to use: • Website • PromoLonal equipments • Partnership • University organizaLons • Annual events • The design map of this region • Close transportaLon networks

Fig. 38 The photomontage of clients The photo shows the key clients of the event.

Source (Lin, 2015) Created by author.

Staff F

The Staff Needs

E

As the floor plan shows, staff includes; volunteers, engineers and cleaners during the event.

Volunteers Volunteers work 4 hours per shid and the faciliLes include: • Lockers for storage • Toilets • AdministraLon space • Refreshments area • Close to the transportaLon network

G

B

Engineers Engineers have to be near the installaLon to check the equipment before and ader the opening. Together with handling

D

problems during the event which means they need: • Lockers for storing • • • •

The System checking room Materials Toolbox Toilets

• Working space nearby the pavilion • Refreshments area • Close to the transportaLon net

Cleaners Cleaners will work during the mornings and evenings before the installaLon opens and ader closing, the faciliLes required are: • Lockers for storing • Toilets • Easy access for cleaning equipments • Bin storage room

A

C

A

The Original Main Entrance The exisLng entrance, can only be used as an exit only during the event.

B

RecepPon, InformaPon Centre and Working Area The exisLng office is located on the first floor at south building which is on the top of public toilet. And it includes the lockers and storage cabinets.

C

Male Toilet It is public toilet for visitors and staff.

D

Female Toilet It is public toilet for visitors and staff.

E

Engineer & Cleaner Room It is the repairing toolbox and cleaning equipments all in this room.

F

Engineer & Cleaner Toilet This toilet is only for the engineers and cleaners.

G

The Bin Storage Room This is the exisLng facility in the museum.

The InstallaPon Courtyard The site of installaLon Fig. 39 The needs area plan The plan shows the exisLng spaces that had already in use, it is possible to reorganize the working areas to be suitable in the event. Furthermore, the spaces of museum have potenLal to coordinate with each fesLval, even the area of this project is at the courtyard, it also can use the interior space to be one of faciliLes and combining the installaLon and museum itself which provide the massive possibiliLes in the future. Source (Melville, R., 2015) Area Plan created by author.

Fig. 40 The photomontage of staff The photomontage shows the three main staff during the event such as volunteers, cleans and engineers who will work in the museum and take care the environment and the installaLon. Source (Lin, 2015) Created by author.

Primary Market Visitors F

The Primary Target Needs

E

The primary users being students and designers can be inspired, exchange ideas and enhance the art and design environment in Birmingham.

Students I

Students studying art and design or fashion. The event aims to ahract them to join it, providing inspiraLon. Their needs are: • Website • Ticket or museum pass • • • •

D

• Toilet • Close to the transportaLon net

A

Designers The designers’ needs are similar to students’ who would like to learn from this event, and be inspired by it. Exchanging and interacLng with the installaLon designers. Their needs are: • Website • Ticket or museum pass • • • •

Way findings Cloakroom InformaLon centre Business exchanging

• Toilet • Close to the transportaLon net

G

B H J

Way findings Cloakroom InformaLon centre Guide tour

The InstallaPon

C

A

The Original Main Entrance The exisLng entrance, it will be exit only when during the event.

B

RecepPon, InformaPon Centre and Working Area The exisLng office is located on the first floor at the south of the building which is on the top of public toilet. It includes the lockers and storage cabinets.

C

Male Toilet It is a public toilet for visitors and staff.

D

Female Toilet It is a public toilet for visitors and staff.

E

Engineer & Cleaner Room It is the repairing toolbox and cleaning equipments all in this room.

F

Engineer & Cleaner Toilet This toilet is only for the engineers and cleaners.

G

The Bin Storage Room This is the exisLng facility in the museum.

Courtyard The site of installaLon Fig. 39 The needs area plan The plan shows the exisLng spaces that had already in use, it is possible to reorganize the working areas to be suitable in the event. Furthermore, the spaces of museum have potenLal to coordinate with each fesLval, even the area of this project is at the courtyard, it also can use the interior space to be one of faciliLes and combining the installaLon and museum itself which provide the massive possibiliLes in the future. Source (Melville, R., 2015) Area Plan created by author.

H

I

J

The Cloakroom There is a door between the exisLng recepLon and the main gate, it can be the cloakroom that keeps the visitors’ belongings. The locaLon is convenient so because visitors have to go through this area before leaving the site.

Main Gate During the event, it is the main entrance which allows visitors into the event.

Business Exchange This is included in the informaLon centre which allows companies, visitors and designers to leave messages and cards.

Fig. 41 The photomontage of visitors The photomontage shows the primary visitors who is students and designers.

Source (Lin, 2015) Created by author.

Secondary Market Visitors F

The Secondary Target Needs The secondary market visitors can be tourists and media. Tourists can travel throughout the UK to Birmingham. The media can promote the event and conduct interviews with designers and visitors on the opening day.

E

K

I

Tourists Tourists are one of key targets that travel in Birmingham. Their needs are: • Website • Ticket or museum pass • • • •

• Toilet • Close transportaLon network

D A

Medias The media includes news, reporters, radios and magazines. They will be invited at the pavilion during the opening day and closing of the event. Their needs will be slightly different as they will require more faciliLes: • Press Pass • • • •

Map Cloakroom Interview points InformaLon centre

• Toilet • Close transportaLon network

G

B H J

Way findings Cloakroom InformaLon centre Guide tour

The InstallaPon

C

A

The Original Main Entrance The exisLng entrance, it will be exit only when during the event.

B

RecepPon, InformaPon Centre and Working Area The exisLng office is located on the first floor at the south of the building which is on the top of public toilet. It includes the lockers and storage cabinets.

C

Male Toilet It is a public toilet for visitors and staff.

D

Female Toilet It is a public toilet for visitors and staff.

E

Engineer & Cleaner Room It is the repairing toolbox and cleaning equipments all in this room.

F

Engineer & Cleaner Toilet This toilet is only for the engineers and cleaners.

G

The Bin Storage Room This is the exisLng facility in the museum.

Courtyard The site of installaLon Fig. 39 The needs area plan The plan shows the exisLng spaces that had already in use, it is possible to reorganize the working areas to be suitable in the event. Furthermore, the spaces of museum have potenLal to coordinate with each fesLval, even the area of this project is at the courtyard, it also can use the interior space to be one of faciliLes and combining the installaLon and museum itself which provide the massive possibiliLes in the future. Source (Melville, R., 2015) Area Plan created by author.

H

I

J

The Cloakroom There is a door between the exisLng recepLon and the main gate, it can be the cloakroom that keeps the visitors’ belongings. The locaLon is convenient so because visitors have to go through this area before leaving the site.

K

The Museum ExhibiPon It is the original exhibiLon in the museum, and the tourists are welcome to join both exhibiLons.

Main Gate During the event, it is the main entrance which allows visitors into the event.

Business Exchange This is included in the informaLon centre which allows companies, visitors and designers to leave messages and cards.

Fig. 42 The photomontage of visitors The photomontage shows the secondary visitors who is students and designers.

Source (Lin, 2015) Created by author.

Fig. 43 The MirrorCube The photo shows the similar inspiraLon of the project which used reflecLon to interact and dialogue with the environment.

Source (excessreport, 2012) Designed by the Swedish Tham & Videgård Arkitekter.

Form & FuncLon Human senses come from different reacLons to feelings, and that feelings are influenced by experiences. In physical terms, the centre of human form being the heart or mind. Human’s use their mind to receive message through their senses, then translated into feelings. Combining senses as one central processor, this is the primary starLng point.

Form The centre of intrinsic human senses could be the heart, which receives all biological reacLons. Thus the starLng point, and symbolically combing all of the senses to a central point. One element of the installaLon concept being; contrasLng atmosphere and shapes. The site being an elongated rectangular space. The opposite being a curve or circle. This is the key element that will be encoded into the design.

Fig. 44 The EvoluLon of Form Because the site is a square and follow the one of condiLon of concept, it has to be contrast, so the opposite of flat is curve and for square is circle. As the picture shows the contrast of square then take out the circle to be the main element of the form.

Source (Lin, 2015) Created by author.

Fig. 45 The Centre of Feeling At the first step of the form, even there are different senses in humans’ feeling, but the iniLal experiences are all coming into the heart, so it can say the centre of the senses is the heart and it combines all feelings together.

Source (Lin, 2015) Created by author.

Furthermore, the circle has been separated into two semicircles, and offset against each other. CreaLng different levels to experience throughout the journey. The first part of the installaLon will elevate from ground level and uLlise the exisLng space, this connecLng both.

The users journey will then follow a pathway down the ground level. Using different levels will facilitate an interesLng narraLve and forming a physical connecLon between architectural styles.

FuncPon The funcLon being the creaLon of an interacLve installaLon, that can challenge human percepLon and senses whilst creaLng a dialogue between the space as architecture, and the performance architecture.

Fig. 46 Set into the Site The circle form of the key element sets into the elongated rectangle site, so the circle has been cut into half and stagger both parts to be lengthwise. As the picture shows the steps of the circle form implement into the site and both parts set next to each other.

Source (Lin, 2015) Created by author.

Fig. 47 The Different Levels The form of the installaLon is two part of it and if the visitor flow is at the same level, it will not be interesLng. So that raising up the first part from the ground, then connect two areas by transiLonal space and back to the down level. The journey climbs up to the top and go down, the flow decrease the level from the up level as well as it goes down is easier than go up, so that is the reason that raise the first part of the installaLon. Source (Lin, 2015) Created by author.

Materials & Technology Structure The main structural materials of the installaLon would be steel foundaLons and columns. These would prove stable .

The ribbed structure is constructed from carbon fiber, being both light and strong, is used in the construcLon of the supporLng structure from the steel frame.

Materials The materials are carbon fiber, memory foam, stretch fabric and shrink mirror.

• Carbon Fibre: Used in the structural elements.

• Memory Foam: An interior material used in the construcLon of the walls.

Which can interact with users touch. It will record the shape, then revert itself to its previous flat form. A metaphor to human breathing.

• Stretch Fabric: Used in part of exterior, double layers to give wall thickness.

• Shrink Mirror: It is a kind of veneer and using heat to curve and sLck onto objects. A mirror which uLlises the exterior surface to reflect the architecture as dialogue between the

Fig. 48 The Carbon Fibre The Carbon Fiber is kind of light and strong material which can be customizaLon of the needs as well as it can provide more possibiliLes that consider of the structure design, and also it can change the colour by painLng. Source (worldcardans, 2003)

Fig. 49 The Memory Foam The memory foam provides the interacLve stage that keep the limited memory into it and also it will use in the material of wall in the interior. When it is reverLng, the feeling will like the wall is breathing, same as the installaLon. Source (mahressexpert, 2014)

Fig. 51 The Shrink Mirror This material is like a veneer, when it sLcks on the objects, it needs the heat to let the material fit in the shape even it is curve shape. This shrink mirror does not have outdoor problem such as rain, so it will be use in the exterior then it can reflect the environment, the building and the space as dialoguing between the installaLon and visitors.

Source (showtex, 2014)

Technology The technology are OLED and Conveyor Belt.

• The OLED: There is a new technology called OLED which research and development by Philips Lumiblade. The OLED is not only as a glass but also it is a flat organic light. Its’ thickness is 1.8mm and it won’t gepng too warm just 30°C maximum. When the OLED switch off, it looks like a transparent glass, the light can go through it as a window, but when switch on it, it becomes a light

installaLon and exisLng buildings.

Fig. 52 The LivingShapes interacLve wall The interacLve wall is created by several pieces of OLED as a screen, it combined the sensors to track movement then shows on the panel to represent every acLon from the visitor who interacts with it.

And when switch it off, it will look like a glass, but switch on, the flat light shows.

Source (Melville, R., 2015) Designed by Philips.

Fig. 53 The Conveyor Belt The Belt will install at the floor of the installaLon which provide the backward feeling.

Source invesLngwithopLons, 2012)

Fig. 50 The Stretch Fabric Which is a waterproof fabric and it also has the elasLc funcLon that could fit in the curve shapes, then it is not only use in roofs as tents, but also can be a part of exterior of the installaLon. It will allow some of lights go through as the lantern, and the stretch fabric can cladding on the structure as well.

Source (showtex, 2014)

then creaLng a interacLve wall by combining the sensors and OLED that interact by movement to show on it as a screen of wall.

• The Conveyor Belt: It uses at the final floor area of the aisle inside the installaLon. The belt will go backward by 3cm/ps which let visitors feel they need to spend more energy to walk as well as it creates the illusion at this point.

Source (youtube, 2012)

Experience & PercepLon The whole journey of the exhibiLon provides different levels and interacLvity lepng visitors receive a message from the architecture and also they can interact w i t h t h e i n s t a l l a L o n t h r o u g h experimentaLon equipments.

For example: • The elevated part of installaLon creates d i ff e r e n t v i e w s a n d c o m b i n e s technology to show the impression of the site as well as the visitor flow has several layers to let visitors have some interacLon with it.

• The first impact is combining sound, smell and projecLon to represent the working situaLon on each different floor. Providing the working sound and smell. Visitors can watch through the window and there will be a projecLon inside to show the worker inside.

• The touch wall will combine the pitched pathway and memory foam wall. Lepng the visitor naturally walk beside the wall and touch the memory foam. The space represents breathing when it reverts to its original form. The exterior is reflecLve material that can change the curve to dialogue with the surrounding building on the site.

• New technology, such as interacLve wall, use OLED to create a large panel to track movement as a screen that can let visitors see through it when it doesn’t track any movement as well as the movement has been tracked it will light on then as a tracking light wall.

• The final pathway is using conveyor belt to be the floor and it goes backward 3cm/ps to let visitors feel the space of counteracLon.

Fig. 54 The photomontage of experience The photo shows the image that visitors can dialogue with architecture by movement and reflecLon then the exterior of building will reflect on the installaLon as the building performance itself.

Source (Lin, 2015) Created by author.

Experimental Process The Experimental Test These tests aim to verify the concept in-­‐ s i t u r e a l i t y . T h u s a s s i s L n g t h e development of ideas. PresenLng a realisLc image of the potenLal effect, whilst making informed design decisions and aiding problem solving.

Experimental 1.

The PerspecPve Test TesLng the scene of dialogue between the installaLon and the exiLng building. Using lines to connect from the small scale aperture to the exiLng structure.

DemonstraLng the perspecLve scene.

Furthermore, it is connecLng two objects that communicate between each other.

Fig. 55 -­‐ 57 The PerspecLve Scene The images show the test of perspecLve scene, as the exiLng situaLon, the big window is the buildings’ window structure and the small scale window is the interacLve point of the installaLon. Source (Lin, 2015) Model made by author.

Experimental 2.

The Curve of Memory Form The test establishes the curve of memory foam when pressure is applied to one side, will the other side curve or not.

The result, demonstraLng that memory foam will curve when you press on it, even when there are two sides of the structure, it sLll will curve by applying pressure in the middle. Recovery to original form is slow, which represents breathing within the space.

Fig. 58 -­‐ 59 The Memory Form As two photos show the effect of memory foam. When there is pressure on it, it will create the curve on the other side, and also when it is recovering which is like the feeling of breathing.

Source (Lin, 2015) Photo taken by author.

Experimental 3.

The Conveyor Belt Test Experimental test 3, is a conveyor belt test.

The conveyor belt is located in shopping centre which has several conveyor belt escalators. The test is try and walk the wrong way on the belt. Then apply the findings to the primary experience of the conveyor belt floor idea.

The belt speed of in the tested situaLon is 30cm/per second. This speed would prove too fast if installed into the installaLon. It has to be both slow and smooth to ensure safety. Proposed speed sepng of the concept being 3cm/per second. RelaLvely slow but, the point is providing an invisible feeling and experience upon the conveyor belt floor.

Fig. 60 -­‐ 61 The Conveyor Belt The images show the test of going backward on the conveyor belt. The speed for this is 30cm/per second which is really fast if it uses in the floor to represent the experience, so the speed of the concept is 3cm/per second which provides the smooth feeling of go backward when visitors are leaving the installaLon at the final part.

Source (Lin, 2015) Photo taken by author.

2D Zoning &

SpaLal ComposiLon The EvoluPon of SpaPal ComposiPon The first two parts have the same the principle of space, when divided into human senses, such as; Taste, Smell, Touch, Sound and Visual. To let users follow a pathway and engage with these areas.

The starLng point of the journey is the main gate, located at the led side of the floor plan. ULlising exisLng walls to create the route, and provide several interacLve points. Each part interacts with users and creates a dialogue with the space. Five areas being:

Entrance (Main Gate)

> >

>

1. Visual

2. Sound

3. Touch

4. Smell

5. Movement

Exit (Original Entrance)

> > >

The potenLal art installaLon does not have a strong impression that interacts with the space, and it is similar to common exhibiLon routes and pathways. The primary point being the first SpaLal ComposiLon, it has to be interesLng and present users with a strong first impression when they approach the installaLon.

As the result of the case studies and the ideaLon, the proposed concept installaLon is an accumulaLon of the research.

Furthermore, it not only provides different levels of user journey but also assembles all of the interacLve points, a symbolic narraLve of the core human senses.

Users are required to ascend into the installaLon by the ramp which is at the led hand side of the elevaLon. The shape of installaLon is of organic form. When they get into the centre, there are several interacLve points inside. In addiLon, the user will need to go downwards, experiencing different sensory experiences within the installaLon journey.

Following on from the InspiraLon and the concept ideaLon of the central soluLon. Further conLnued development and evoluLon, all of which has resulted in the final outcome.

Sketch of FaciliLes

MICROBE ORGANIC METAPHOR ENGAGING PATHWAY LEVELS INTROSPECTION

Floor Plan

The sketch floor plan shows the different levels of the route, coupled with the installaLons organic form evoluLon. A symbolic heart or microbe, central to human senses.

The user route resembles a natural wave form. Primary funcLon being to direct users to the first interacLve point, then follow the curve aisle with the interacLve wall, ader that, leading into the third interacLve point.

Upon compleLng this area, users will be directed down into the transiLonal space, via the staircase, into the forth interacLve space, being the OLED panel wall which t r a c k s a n d r e s p o n d s t o p e o p l e s

Entrance

movements. Thereader the final point, the conveyor belt and interacLve floor.

Travelling at 3 -­‐ 5cm/per second backward direcLon. The user will have minor difficulty exiLng, they need to spend more energy to walk.

Externally, mostly of reflecLve material, a skin. A metaphor of the human form. The user is encouraged to conLnue the journey below the installaLon using a directed, zigzag route, leading to the final exit of this interacLve experience.

Route

UP DOWN

Exit

SecPon The secLon shows the idea of behind the different levels of the journey. The users engagement through the route within the installaLon and site.

b

c

Reflect Skin

Solar Penal

Sketch of details

Structure

The sketch details demonstrate the idea of how the different materials connect with each other. There are four individual connecLon points.

Point a situated below the reflecLve side of the installaLon. A combinaLon of the structure, memory foam and reflecLve material. A shadow gap connecLon also acts as a water line, allowing raindrops to stop. Furthermore, the memory foam forms the surface of the interior walls, allowing visitors to touch, a representaLon

a

d

a b

Solar Penal Sunlight

The Idea of Staircase

ReflecPon Skin

of human resperaLon. Externally, the structures curved lines will change through touching the interior wall, together with providing random effects of reflecLon.

Day Light Structure

Point b and c sketch connecLon details between the side materials and the solar panel. As the images show the solar panel connects the structure, side material to each other. Stretch fabric is uLlised to cover the structure and between the two

Steel Stand

Memory Foam Structure

c Solar Penal

surfaces of fabric, there are several LED lights installed as point d.

Point d shows the connecLon between the steel foundaLon and the sides of structure.

LED lights are set to look upwards at the structure. The floor is a five degree ramp

Stretch Fabric Cladding

The Handle of Stair

to let users to interact with the wall easily.

d

Interior Floor/5° LED Light Steel Structure

Sketch of FaciliLes Sketch of Detail

First InteracPve Point

Third InteracPve Point

The sketches shows some ideas of the interacLve point, and provides a different atmosphere when users approach it.

The first interacLve point is at the start of the journey. There is a balcony which allows users to face the exiLng window experiencing the senses; visual, sound and smell.

The third experience, a small scaled window connecLng to the exiLng window by strings of cohon. An addiLonal feature being the collecLon of raindrops upon the strings, as a spider net. The installaLon

With Coaon Strings

TransiPonal Space

Forth InteracPve Point

firmly interacts with the building and the environment.

The idea of a transiLonal space is the staircase with the touch sense, allowing visitors through this area to push aside the fabric then approach the next stop.

There is a interacLve wall at the forth point, it combines the OLED panel and the sensors, which track movements then interact with visitors. When the panel is switched on, it becomes a flat light, and a transparent glass when switched off. A m e t a p h o r o f d i a l o g u e w i t h t h e architecture is a flickering impact and transmission of images between users and the building through the OLED panel.

With Stretch Fabric

Fi[h InteracPve Point The Conveyer Belt Pathway

The OLED Panel

The Sketch of Final Part The final part provides two different experiences. The first, the interacLve OLED wall and the second the final pathway that uses a conveyor belt recessed into the

Structure of Part B

floor. The floor looks level, however when user steps upon it, they will feel a resistance. They are required walk through here slowly, floor pulling them back slightly (the belt is going in a backward direcLon). The user cannot see the gap between it and the structure or wall, the whole floor is a conveyor belt, the user feels but cannot see what is going on.

Sketch of Structure

Structure of the Final interacPve point

The SecPon of Conveyor Belt Floor

Dancing Sensations

Programme : MA Interior Design 2014 – 15 Module : DES 7054 – PERSONAL PROJECT PRACTICE Student ID : S14105522 Student Name : Yen Hsiang Lin Tutor : Delia Skinner

CONTENTS PAGE

AGENDA

CONCEPTUAL CONTEXT

IDEATION

DESIGN MANIFESTO

CULTURAL IDENTITY

CASE STUDY ANALYSIS

DESIGN COLLABORATION

NEEDS ANALYSIS

INSPIRATION

DESIGN DEVELOPMENT

FINAL PRESENTATION

REFERENCE

Issues & Problems -­‐ C.A.P.E.S Opportunity -­‐ C.A.P.E.S PotenLal Design InnovaLon

WHAT -­‐ FaciliLes and Experiences WHY -­‐ FuncLon and Benefit WHO -­‐ Client x Staff x Users WHERE -­‐ LocaLon x Site x Community

AnLthesis Photomontage Thesis Phototmontage

Polices -­‐ Extrinsic Design Rules Principles -­‐ Intrinsic Design Rule PracLce -­‐ Project Schedule x Process Map x Design Method

Brand Message -­‐ Values Statement Graphic & AestheLc -­‐ Signature x Symbol x Style SemioLc NarraLve -­‐ Encoded Visual Stories & Metaphors

Case Study 1: The Cumulus C.A.P.E.S Brand & Trend Analysis Commodity x Firmness x Delight Architecture Analysis Design Principles Analysis

Case Study 2: The Tape Paris C.A.P.E.S Brand & Trend Analysis Commodity x Firmness x Delight Architecture Analysis Design Principles Analysis

WHO -­‐ Expert x Authority x CreaLve WHEN & WHERE -­‐ Time x Place x Protocol HOW -­‐ ContribuLon x Catalyst x CriLcism

Client x Staff x Primary Market Visitors x Secondary Market Visitors

Form & FuncLon Materials & Technology Experience & PercepLon

Experimental Process 2D Zoning & SpaLal ComposiLon Sketches of FaciliLes 3D Modeling of FaciliLes 4D Storyboard

Scheme of Design SpaLal DesLnaLons Design Details

3D Model of FaciliLes Delivered the Concept As this stage, the ideaLon and concept are inserted into the study model, checking the proporLon of scale. Furthermore, there is the opportunity to understand the relaLonship between the exisLng architecture and the installaLon.

These images show the scene of exhibiLon views as well as the levels, providing a real engagement with the installaLon. There is a spiral staircase to send the visitors up to the first interacLve point, and follow the pathway to each part of the interacLve experience. The exterior has three key elements;e reflecLon. shrink mirror, stretch fabric and solar panel. The laher which support some of electricity usage, whilst lepng natural sunlight go through to the inside of the space.

Site View

North Side

Top View

West Side

East Side

South Side

3D Model of FaciliLes Into The Site The Images show the study model has been set within the site. It can help assist with the design and effecLvely solve problems. Understanding the scale is paramount. The installaLon has different levels which shows the natural line of the roof ramp, from the led side of the elevaLon. The second floor from the main entrance pathway then the roof has invisible visual lines connecLng the installaLon and following the levels down to the ground floor. This configuraLon not only provides an interesLng route, but can also have direct interacLons with the architecture of the site.

T h e f a c i l i L e s i n c l u d e ; p r o j e c L o n t e c h n o l o g y p r o v i d i n g a d i ff e r e n t experience through engagement, and challenging human senses.

T h e r e a r e s e v e r a l t e c h n o l o g i c a l installaLons though the journey. The materials and lighLng can also enhance and create an interacLve atmosphere, visual illusion of expression. Following the journey, the faciliLes are:

STAIRS The Stairs direct the users to the upper level of the installaLon.

Projector The projector projects the visual history of the producLon of the coffin fipngs on upon the surface of the glass, when exiLng the second floor.

Speaker & Smell Which when combined with the projecLon provide the smell and sound of NBCW.

Solar Panel This energy equipment which provides an independent source of power, for the part of lighLng. Self sustainability also explains the meaning of a Green Art InstallaLon.

LED The primary source of lighLng within the installaLon. Installed beside the aisle, and under the stairs, together illuminate the installaLon at night Lme.

Conveyor Belt This is the key to the final part of the journey, the moving floor provides an interesLng, and unusual feeling.

4D Storybaord The User Journey The study model delivered conceptual ideas, which can easily demonstrate how the different users get into the space and what route their journey will take.

STAFF Staff include; engineers and cleaners taking care of the exhibiLon and supporLng the users needs, whilst problem solving. The Staff Journey is similar, because they will have to check all of the faciliLes and the environment prior prior to opening, and again upon closing each day.

STAFF (Working Route & Point)

ENGINEER (Working Route & Point)

CLEANER (Working Route & Point)

The recepLon, office and the original entrance of the museum.

The original factory of the Newman Brothers Coffin Works.

It is the room for the cleaners and the engineers which include the toilet.

The bin storage room

Different Levels of The Route The art installaLon provides different levels of the journey which let the visitors have up and down experience, and also it has potenLal to interact with different scenes of the space.

Primary Market The primary market is designers and students ahending the event, and this installaLon.

The journey is different to the staff. The starLng point being the main gate then lead straight to the upper level by the stairs.

When they arrive the level, the first interacLve point will face them, ader that there is a curved pathway to the second interacLve point. The memory foam interior wall that provides the semioLc breathing space. The third interacLve point is at the end of the wall, beside the illusion staircase. Going through the stairs sending the user down in level to the forth interacLve point. Thereader the end of the journey within the installaLon, the fidh interacLve point allows the user to follow the pathway beneath the installaLon. Ader that, the exit of the exhibiLon within the recepLon area which is the staff route, and also the entrance of the museum.

PRIMARY MARKET

EXHIBITION ENTRANCE

EXHIBITION EXIT

The recepLon, office and the original entrance of the museum.

4D Storybaord Secondary Market The secondary market is tourists visiLng Birmingham, perhaps following a guide book to Newman Brothers Coffin Works Museum. At this point, it is possible that the tourists have no idea there is an event inside, and potenLally discovering the event in different way.

The journey is similar to the primary market. Ahending the event, but also their original purpose of visiLng NBCW museum. So as this point, they will also experience the NBCW tour too.

The entrance is from the gate and then go up level, all as per the primary market route, ader the installaLon, they will experience the NBCW experience. Then conLnue the exhibiLon journey through the exiLng building and exit via the recepLon area.

The Top Level of The Route SECONDARY MARKET

EXHIBITION ENTRANCE

EXHIBITION EXIT

The recepLon, office and the original entrance of the museum.

The original factory of the Newman Brothers Coffin Works.

There are two different levels of the route in the site, the top route is the engage journey which is inside the installaLon and it has up and down pathway to let the journey to be more interesLng.

The Down Level of The Route The down route shows the journey of outside the installaLon and also there is a pathway that go through below the staircase, it provides different angles and views between the exiLng building and the installaLon.

The SoluPon of Disable Wheelchair It is possible that the visitor is a wheelchair user. Due to the historic nature of the site, wheelchair users are not included as part of target market, but sLll welcome. To accommodate, the route will change and make it more effecLve and accessible. On the other hand, they want to visit the factory for a ground floor only tour and thus unable to get into the installaLon. However some interacLve points are accessible.

The entrance is sLll the main gate, where the wheelchair can access the site, they will need to turn right and follow the ramp between the installaLon and the exiLng building, then pass the pathway below the staircase. Ader that, they will find the interacLve exterior wall of this aisle, and conLnue to the end of the installaLon to see what is going on inside. The wheelchair has to follow this route back when leaving the museum.

DISABLE of ROUTE

EXHIBITION ENTRANCE

EXHIBITION EXIT

The recepLon, office and the original entrance of the museum.

The original factory of the Newman Brothers Coffin Works.

Scheme of Design Design Mission Statement of

Dancing SensaPon

Inspired by Sodspace Architecture, a theory conceived by Usman Haque in 2002, this temporary installaLon is designed to have intersecLng spaLal pathways that lead to a range of digitally evenkul and interacLve faciliLes designed to create memorable and thought provoking architectural experiences for the user visiLng the Newman Brothers’ Coffin Works in Birmingham.

Benefit by Design The use of Sodspace technology video mapping, materials and reflecLon will establish an architectural installaLon as a transmiher for the research, projects and values associated with the civil design acLvist group Umbrellium.

Design Outcomes A temporary installaLon to delight and inform arts users about the work of Umbrellium.

ENGAGING CHOREOGRAPHED REFLECTION TRANSMITTER

Scheme of Design Commodity

The route of the installaLon from upper to lower levels provides a different flow in the site. Users will have to go through the main gate then sent to the top by stairs.

The starLng point, following the curve pathways to go through the installaLon. Ader that, users can walk through, around, and below the transiLonal staircase then leave the exhibiLon.

The funcLon is to provide possibiliLes for Sodspace interacLon with users and exchange the experiences by the installaLon and exiLng architecture.

The symbol of form is the reflected centre of human senses, and a working dialogue with the building and environment of the Newman Brothers’ Coffin Works.

Firmness The structure as two organic forms, supported by steel foundaLons and lightweight carbon fibre structure. The transiLonal staircase is made form steel, and can support the structure between two different levels, as well as it is using the shrink mirror as the exterior material reflecLng the scene of the site.

Delight This installaLon is like a flowing quicksilver, it not only has curved surfaces and shapes but also it reflects all of the scenes surround it.

ReflecLon can represent views, scenes, lights, and also the mind. When people look at the mirror they will check their likeness or think about themselves and their own feelings.

It is not just interacLng and exchanging the atmosphere by the Dancing SensaLons, it is also a key relaLonship between the s p a c e a n d t h e h u m a n b e i n g , communicaLng and forming a dialogue each other.

Design Principles

Form

Volume

Balance

The installaLon is an organic shape which evolved from a circular form, a symbolic centre of mind. Elevated parts enhance and create different levels of the route.

This installaLon is divided into Part A , the raise level and Part B the second part of the installaLon which is based upon the ground floor.

ConnecLng the two levels is a linking ramp of the exiLng building.

In this case, the balance is part of the dialogue which bonds the site and installaLon. As the image shows the flat exterior of the building and the curved reflecLve exterior of the installaLon. The contrast between the two is the communicaLon and the flat scene will be influenced by the curve reflecLon.

ProporPon The scale of the installaLon allows the space to become

i n t e r e s L n g , a n d e v e n k u l providing the WOW during the

event.

Movement Following the route through the levels, the flow akin to a wave

which oscillates upwards and downwards then across beneath

it.

Rhythm

The wave pathways inside the installaLon are curved, the reflecLon outside will conLnue its tempo of it.

Focal Point Users walk through the gate, their first impression is a visually

impressive reflecLve curved

surface.

Hierarchy S i mi l ar to th e mo vemen t, different levels of the route provide different scenes and views.

Scheme of Design

West

South

West

South

East

North

East

North

The elevaLon shows different Lmes of scenes in the site. The exterior reflecLon of the installaLon will change the expressions by the Lme, as well as the dialogue between the exiLng building and it will also influence by the Lme.

Scheme of Design The StarPng Point of the outside route During the event, the users will have to go through the main gate. The space is effecLvely a Time Tunnel. It is historical, industrial architecture leading into a visually, stunning contemporary art installaLon.

The image shows users entering the space, they have no idea what they will approaching. The first face of the installaLon is the raised level, which means users just can see the structure and a lihle reflecLon at this moment.

The First Impact Ader the Time Tunnel, users can raise their heads and take a look the first face of the installaLon. The reflecLon at this point allows people see the wooden underside, exterior of the building which is over their heads.

Users can also walk through the structure beneath the installaLon and feel free to engage with each surface of it.

Pathways lead users easily to approach the stairs from the gate, into the installaLon.

The View as the Curve At this view, the relaLonship between the exiLng building and the installaLon contrast. Users are able stand and view the whole corner, as the floaLng silver circle connects with the angular corner.

The Pathways Below the InstallaPon As the image shows there is a ramp which users use to exit the installaLon. It provides the exit route and also allows disabled wheelchair users access through. There are two straight pathways, one being the ramp, and the other one is at the diagonal point.

Scheme of Design The Route Below the TransiPonal Staircase The different levels of configuraLon provide an interesLng route around the installaLon, not just internal, but externally allowing users to engage and walk around it.

When users walk through this point, they can see the installaLon itself, and also the different reflecLve angles of the installaLon.

The Dialogue Pathways Following the route, users will be lead to this pathway, ader the installaLon journey. The reflecLve exterior surface of the installaLon, reflects the exisLng building and the visitors’ movement.

The reflecLon change, dependent upon the viewed angle.

Akin to a destroyed mirror, providing different widths and depths encouraging interacLon with the user, architecture and the environment.

The Exit Area of the InstallaPon At the end of the journey, there is the oblique angle exit that directs the users route.The space also facilitates the user Lme to reflect and consider the journey before looking around the rest of NBCW range of historic buildings.

A[er the ReflecPon Pathways A different view of the exit route, at this point, the reflecLon sLll encompasses the site, the buildings’ reflecLon can vary and is totally diverse.

This area lets the users view the hierarchy between the installaLon and the architecture, as well as the proporLon of the lines, leading the users eyes to the upper level.

Scheme of Design The PerspecPve Structure The interacLve point of the installaLon overhead. It is the up view from the ground floor, demonstraLng the effect of perspecLve, coupled with different angles of view. The lines look like cross to each other and shows the rhythm of the line structure.

The structure connecLng two objects, it represents the small scale part get into the exiLng one or in verse, both are possible depending upon the feeling and the Lme.

During rainy days, raindrops will stop on the connecLng lines. The structure connects the installaLon to the exisLng building and is interacLve depending upon the condiLons of the environment.

The Way of the Exit The ramp as the image shows, however the view is totally different. The curved reflecLon ader the transiLonal staircase is the rhythm of the space tempo. It contrasts between the exiLng building, an impassive flat exterior wall and the installaLon’s curved surface. Providing a lively and interesLng expression.

When the user walk through here, both sides of the scene will provide the visual flow as per waves.

Entrance (the main gate) Stairs Pathways (below the transiPonal staircase) Exit of the InstallaPon

The SecPon of the InstallaPon

TransiPonal Space

The staircase connects between two parts of the installaLon and it shows the illusion effect of visual when visitors walk through here.

The secLon shows the view of a secLon through the installaLon, and also it presents the whole journey and proporLons. The way of approaching the installaLon. Briefly:

ENTRANCE: The main entrance to the building. The starLng

point.

The Stairs sends the STAIRS: visitors to the first

interacLve point.

PATHWAYS: The route that the user walks across under the

installaLon.

T h e e n d o f t h e EXIT: interacLve journey.

Point C

The third interacLve point is the perspecLve structure of window which connect with exiLng window.

Point B

It the curve aisle, the interacLve wall is beside it.

Point A

The first interacLve point of the installaLon which provide the visual, sound and smell at this point.

Point D

Point E

The final part of the installaLon, suspended material and conveyor belt floor to conclude the journey.

The second interacLve wall with the OLED technology to represent the users’ movement.

SpaLal DesLnaLons – InteracLve Point A & B The InteracPve Point A Commodity When the users approach the installaLon, there is the spiral staircase that sends them to up and into the installaLon. Through the stairs, they can touch the exterior of the installaLon. Before the user enters int the installaLon they feel it, the atmosphere is simple, pure, interesLng and curious.

Upon walking through the doorway, users will engage with the fist interacLve point A. At this point, the user stands in front of the exiLng window, there is the projecLon behind it which projects a short the film of a NBCW worker in the stamp room of the works that swap it from it’s original place to the raised level to represent the scene of NBCW works in different ways. It combines the sound and smell of the stamp room, whilst simultaneous a film is playing.

Firmness Following the spiral staircase, the first image of impact is the clear structure, it doesn’t have decoraLons within the point A, is as a balcony with the projecLon. The reason that use the glass being to provide the user the a view of the whole exterior.

The speaker and the smell release system are inserted into the wall and beneath the floor. The speaker set at the same height of the visual level around 150cm. The smell system installed within the floor void, preprogrammed to releasing the aroma inside the installaLon, adding another sensory dimension to the users journey.

Delight The first interacLve point is the second introducLon of the Sodspace.

Inside the installaLon an inner tube combines with natural daylight, sensory equipment, the texture of the exiLng architecture, together with the curved form of the space that can play with the light at different Lmes of day and weathers.

Projector & ProjecPon Speaker Smell System

The InteracPve Point B Commodity The second interacLve point is a long curved aisle, it deters users from seeing the end of the installaLon, also it has rhythm of varying natural light. The interacLve key is the wall beside the pathway which allows the user to touch, press on and lean upon. When users press on it, the curve of outside will be influenced, resulLng in a change of reflecLon.

The interior is a symbolic breathing space, and the changing reflecLon of the exterior shows the architecture is performing and dialoguing with the environment.

Firmness

Delight

The structure as a tube with the 5o side ramp which means the floor slops slightly downwards to the right side that lets users easily walk on right side. The material of right is the carbon fibre

The space is clear and simple, the walls of two sides looks normal and nothing special, but it has the invisible potenLal when visitors are engaging it.

structure with the memory foam inside and the shrink mirror outside that can record the pressure easily and recover slowly. On the led hand side,

Using a light colour it will be easily to see the change of the shadow and light, the space interacts with the user and also feeds back to the

carbon fibre structure too, with stretch fabric being the material for both the interior and the exterior.

There is the solar panel on the top which

environment. During the journey, the user will feel the floor is not horizontal and the interacLve wall provides the space has more sensory atmosphere.

Furthermore, It also shows movement which is not

transparent glass. It allows sunlight through inside and also it can create its own power via the solar panel, thus the installaLon can be independent and supporLng itself.

only the moving people but also Lme, light and the materials around the installaLon.

SpaLal DesLnaLons – InteracLve Point C & TransiLonal Staircase

The InteracPve Point C Commodity The end of the aisle, there is the third interacLve point which is the small scale window structure on the centre of the wall. It is hoped that most of people will curious, look through, they will see the lines follow the small window to the exiLng, larger window that shows the perspecLve of the structure, zoom in and out by the visual angle. It is the relaLonship and communicaLon between the architecture and the installaLon.

Firmness

Delight

The small window looks like it is going into the space from outside of the installaLon, and also connecLng with the real physical window by lines of cohon. It is not only provide the perspecLve

ConnecLng the atmosphere of the interacLve point B, through its curved form, the light will following the different angle of curves as the light line which leads the user to approach the interacLve point C.

scene, but also shows the feeling of speed and allows raindrops to stay on the lines which as the spider net.

The cohon lines become semitransparent structure between two different scales of windows and

The point C is the structure exchanging between two objects which has massive explanaLons via users feelings and emoLons.

provide a curious atmosphere that lets the space create interesLng interacLon.

The TransiPonal Staircase Commodity This is the transiLonal space between Part a and Part b of the installaLon. The stairs are going in a downwards direcLon and whilst descending, it provides the user with a visually distorted experience of the surrounding reflecLons which can extend the space and also reflect the light and scenes. It is the link by which the texture of the inside is mirrored to the outside.

Firmness

Delight

The stair structure is made from steel and provides a stable connecLon between the two parts of the installaLon. The connecLon is made using the zip to link Part a and Part b. Primarily, there is the track below the steel stair structure and the fabric has to fit the down structure first and then pull it to each sides.

Zip it up on one side and Lghten it up to the other side then zip it up again. The purpose is to create the natural curve of the transiLonal pathways, it doesn’t maher that the ceiling will be lower than the head, as there is no structure present. the users will be required to push it up, adding to the interacLve element of the installaLon.

The lighLng is installed under the steps which lets the light through to illuminate the curve. The reflecLon inside the space creates a visual illusion allowing the user to engage with the space.

SpaLal DesLnaLons – InteracLve Point D & E The InteracPve Point D Commodity

Following the transiLonal staircase, the forth interacLve point is the OLED panel of lights. Sensors track movement and represent the users movements.

Firmness The oversized stair treads allow the user to interact with OLED wall, whilst the sensors track movement both near and far.

The interacLve wall combines the technology such as; OLED panel, developed by Philips. The sensors track movement and switch the OLED’s on or off.

Delight The wall will change subject to the u s e r s m o v e m e n t . I t i s t h e performance stage for users to interact with each other.

The InteracPve Point E Commodity

The final interacLve point of the journey is a suspended curtain, that the user is require to part to facilitate their exit.

Firmness The user next experiences the slow moving, conveyor belt floor which travels backward in 3cm per second. The user is unable to sense that the floor is moving before they step upon it.

The hanging curtain is constructed from materials formerly used by NBCW, perhaps cohon fabrics with different paherns, tougher with metal pressings produced as coffin fipngs in the stamp room.

The visitors have to push aside the hanging drops when they are going through here and their hand can touch the texture of it and the sound comes from the string of metal pieces strike each others.

Delight The atmosphere at this final point gives the visitors the conclusion of the senses, even there is not combine all of them but also the main point is inside the mind of human being which is the centre of the senses and they will remember in their heart.

Design Details The DeconstrucPon of the InstallaPon The deconstructed image illustrates the exploded layers of the installaLon. Furthermore, it provides a simplisLc view of each of the interacLve points.

LAYER 1 -­‐ The Solar Panel Allowing natural daylight to penetrate the interior space, whilst providing electrical power enabling self sufficiency.

LAYER 2 -­‐ The ReflecPon & Stretch Curve Skin The shrink mirror is the main material of this project, coupled with stretch fabric and interacLve memory foam material, allowing a curved structure.

LAYER 3 -­‐ The InteracPve Points This layer shows the interacLve Point a & c are independent components ader the transiLonal staircase at Point d. The OLED panel leading to the hanging fabric curtain ion the final part of the journey, the moving conveyor belt floor.

LAYER 4 -­‐ The Route of the InstallaPon It shows the ground floor starLng point to the upper floor via the staircase, then following the curved aisle to the staircase from Part a to Part b. There are a small number of steps in Part b. The square space facilitates the conveyor belt floor, leading to the exit, and the end of the journey.

LAYER 5 -­‐ The Carbon Fibre Structure This layer is easy to see how does the structure build. The structure of Part A is the costal carbon fibre structure as the snake, and also the material is light and strong that lets the weight down. Furthermore, the structure of Part B is the circle as the tube or tunnel which support the curve skin can cover on it.

LAYER 6 -­‐ The Structure of the FondaPon The structural element being it’s supporLng legs allow the raise in height to Part a. The structure is constructed from carbon fibre layers, ensuring light weight upon the steel structure framework at its base.

LAYER 7 -­‐ The Raise Base The base allows the structure to be constructed and also connects ensure the stability of the structure and correct posiLoning. In addiLon, it provides the space that can accommodate the cables and services, that keep the installaLon horizontal.

LAYER 8 -­‐ The Ground Floor of Newman Brothers’ Coffin Works The original ground floor courtyard area retains it historic integrity. The ground surface will be reflected by the exterior of the installaLon. Thus the dialogue between the installaLon and historic architecture reflects and visually enhances both new and old.

Design Details Stretch Fabric Solar Panel

Shrink Mirror Stretch Fabric Memory Foam Side Ramp Floor LED Light

Carbon Fibre Structure Carbon Fibre Structure Steel Structure

Steel Structure

Night Views

Night Views

Night Views

Night Views

IMAGE Fig. 01

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Fig. 06

Fig. 07

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Fig. 22

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Fig. 29

Fig. 30 -­‐ 33

Fig. 34

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Fig. 36

Fig. 37

Fig. 38

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Fig. 41

Fig. 42

Fig. 43

Anon (2014)! HAKANAÏ! DI! ADRIEN! M/CLAIRE! B:! QUANDO! LE! TECNOLOGIE! EFFIMERE! RENDONO! CONCRETI! SOGNI! E! FRAGILITÀ,! annamonteverdi.! Available! at:! hOp:// www.annamonteverdi.it/digital/hakanai@di@adrien@mclaire@b@quando@le@tecnologie@effimere@ rendono@concreF@sogni@e@fragilita/!(Accessed:!16!February!2015).!

Single page of Photomontage created by author

Double page of Photomontage created by author

Single page of Photomontage created by author

Photo taken by author

Photo taken by author

Floor plan provided by Rodney Melville + Partners

Photo taken by author

Photo taken by author

Anon (2014) In praise of messy ciIes. Available at: hhp://archiboo.com/event/usman-­‐haque/ (Accessed: 25 June 2015)

Single page of Photomontage created by author

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Fig. 48

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Fig. 60 -­‐ 61

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Photo taken by author

Photo taken by author

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