Dylan Price Design Portfolio 2014
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SECTION • TITLE • 2014
CONTENTS INTRODUCTION 04 05
Personal Statement Curriculum Vitae
ARCHITECTURE (small) 08-15 16-25 26-27 28-29
Come out and Play I am not Moving Pilgrimage River Valley Housing
ARCHITECTURE (large) 32-47 48-59
Rhyl Enterprise Centre Reparation
PERSONAL PROJECTS 62-65 66-67 68-69
Pervasive Game Proposal Band Design Visual Art
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DYLAN PRICE • PORTFOLIO • 2014
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PERSONAL STATEMENT
In 2012, in collaboration with two friends, I embarked on a project to build a Pervasive Game - a simple, humorous, interactive sticker art project inspired by nostalgia for the 90’s franchise Pokémon. Researching precedents online, I discovered a wide variety of designers using technology to create new and compelling experiences, sparking my interest in this field. I’m fascinated by the relationship between people and technology, and its profound effect on media, education, industrial production and the urban experience. From a personal perspective, online technologies have provided vital tools for discovery, independent learning and self publishing - it is a remarkably powerful and democratic resource. During my studies, I developed an interest in collective experiences, and how technology has enabled new ways for them to take form. An interesting example would be the impact of social media on the perceived potential of public spaces for political or spontaneous and playful ends. Innovative design has the potential to use technology as a tool to enhance human interaction, rather than cause isolation (a criticism of new media). My architectural education has prepared me with the ability to learn new software quickly and independently. I particularly enjoyed the programming based module ‘Digital Practices’ in which I earned my highest grade. A high level of verbal and graphic communication was also required for the critical review format of examination. As an architecture graduate, I am also well equipped to think at once about problems on a concept and detail level, work at different scales and consider the social impacts of
my decisions. One of the most appealing aspects of the Interaction Design masters course is the opportunity to work within a multidisciplinary team. Working in mixed teams can lead to a more fun and dynamic workflow and richer output. Some of my most rewarding personal projects have involved designing with non-designers, and it often led to more interesting results than if I had worked exclusively with other architects. The opportunity to develop valuable skills such as hardware and software sketching also appeals to me. In my spare time I like to write and perform in a band. In just over a year, we have independently recorded and produced two EP’s, organised four UK tours, designed our own album art and merchandise, and had our music featured in web, print and commercial and independent radio. I also co-produced and presented a weekly music show on university radio, and DJ’d in local clubs and parties. This D.I.Y. ethic has influenced my approach to creative endeavors, recognising the value of a hands on approach and the joy of making.
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DYLAN PRICE • PORTFOLIO • 2014
CURRICULUM VITAE CONTACT Email Mobile Home
dylanhprice@gmail.com 07549206642 01279303793
ACADEMIC JULY 2013 SEPTEMBER 2012
JUNE 2009
6
JANUARY 2009 JUNE
2007
BSc Architectural Studies 2.2, Cardiff University Cambridge CELTA (Certificate in Teaching English to Speakers of Other Languages) A level Art & Design - Grade A A level Mathematics - Grade A A level Physics - Grade A AS level Chemistry - Grade C GCSE Art and Design - Grade A* GCSE Mathematics - Grade A GCSE Physics - Grade A GCSE Science Double Award - Grade A GCSE English - Grade A GCSE French - Grade A GCSE English Literature - Grade B GCSE Economics - Grade C GCSE Geography - Grade A
WORK EXPERIENCE JULY-AUGUST
2011
Architectural Intern, JY Huang Architects, Singapore
SKILLS Graphics
Programming Audio Production
Google: Sketchup Pro, Layout Rendering: V-ray for Sketchup Autodesk: AutoCAD, Revit Architecture, 3DS Max, Ecotect Analysis Adobe CS6: Photoshop, Illustrator, Indesign MAX Script, MATLAB Ableton Pro 8, Cubase, Protools
SECTION • TITLE • 2014
ARCHITECTURE (small)
DYLAN PRICE • PORTFOLIO • 2014
08-15 16-25 26-27 28-29
Come out and Play I am not Moving Pilgrimage River Valley Housing
ARCHITECTURE (SMALL) • COME OUT AND PLAY
COME OUT AND PLAY AN INTERVENTION FOR AN UNDERUSED STREET CORNER
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DYLAN PRICE • PORTFOLIO • 2014
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ARCHITECTURE (SMALL) • COME OUT AND PLAY
SIGNS ON SITE SUGGEST AND IMPOSE AN ANTI-SOCIAL ATMOSPHERE
NATURAL SURVEILLANCE Natural surveillance is a powerful can be a poweful tool in mainting a safe that is safe 24 hours a day and encourages more participation. The play space has been designed to provide an opportunity for rough and tumble play and social interaction. The playspace should provide an alternative (not a replacement) to the more generic playgrounds nearby. Though primarily for residents living nearby, an environment that is frequently populated also has a chance to influence a wider area around it.
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DYLAN PRICE • PORTFOLIO • 2014
MAPPING SURVEILANCE
SIMPLIFYING TO HEAT MAP
RESPONSE TO NEW CONSTRAINTS
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Ticklish grasses. Fen and mire. Peppermints, scented geraniums etc. Crawl spaces. Spaces only for children provide a sense of ownership. Spaces with less natural surveillance contain seating for adults. vegetation continues onto frame. Potential to grow further. Semi-enclosed space ideal for ball games. Polyurathene flooring. Springy ground great for running.
ARCHITECTURE (SMALL) • COME OUT AND PLAY
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DYLAN PRICE • PORTFOLIO • 2014
CHALLENGE AND SHARED GOALS
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One goal for the design of this play space was to provide some form of challenge curve, with climbing frames increasing in difficulty as distance from the entry point increases, giving the play an element of mastery. A real world example would be skateboarding, where older generations will share their knowledge and space with the younger generation - play is a social leveler.
ARCHITECTURE (SMALL) • COME OUT AND PLAY
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DYLAN PRICE • PORTFOLIO • 2014
STREET PRESENCE IF THEY CAN SEE YOU, THEY WILL JOIN YOU
Maximising street presence increases natural surveillance and therefore safety on the street. A safer street encourages more outdoor play and interaction. There is also a greater likelihood that an individual child can see his friends playing outside and join in - a type of positive feedback loop.
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ARCHITECTURE (SMALL) • I AM NOT MOVING
I AM NOT MOVING. AN INVESTIGATION INTO PROTEST AND THE ARCHITECTURE OF POWER.
The occupy movement has provided insight into new (per haps renewed) uses for public spaces made possible by new media. The protests also provided interesting new examples of powerful collective experiences through mass organisation and reclaiming of public space. The goal in this studio was to begin with a free investigation of the 'architecture of power', outputting a small intervention in the spirit of the investigation.
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DYLAN PRICE • PORTFOLIO • 2014
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ARCHITECTURE (SMALL) • I AM NOT MOVING
MAPPING SURVEILLANCE CAMERAS
DYLAN PRICE • PORTFOLIO • 2014
In order to map CCTV coverage, my teammate and I located all visible cameras in plan over a free walk, guided by a number of set 'must plot', high footfall zones. We also recorded the focal point of each camera. We estimated camera height using photographs and a fixed, known reference. We used a 'field of view' specification of a typical commercial CCTV camera, found on a manufacturer's website. This information enabled us to create a reliable graphic.
ARCHITECTURE (SMALL) • I AM NOT MOVING
MAPPING SOCIAL SURVEILANCE The decision was made during the CCTV investigation to zoom in on one area of high coverage and footfall and map out another form of surveillance. Cultural/social roles in public spaces can begin to police acceptable behaviour not too unlike surveillance cameras. We used the idea of shoes as one indicator of social role. In hindsight, mapping this simpliďŹ ed concept in plan may not have revealed any correlations. The process of mapping did highlight the pervasive nature of this type of surveillance, identifying it as something worth challenging in an intervention.
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HARD-WEARING CASUAL SMART
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ARCHITECTURE (SMALL) • I AM NOT MOVING
A PLAYFUL INTERVENTION I wanted to design an intervention that would serve to generate conversation about the types of surveillance investigated. I decided to use a playful and familiar board game to tackle a more serious issue.
Choosing to play in a high footfall zone also takes a degree of courage to overcome judgement from the general public. Even if somebody who wishes to play chooses not to, I believe that is also a meaningful response to this intervention.
The game is ready and set up in a high footfall zone under in obvious field of view of a CCTV camera, craving the attention of passersby. Those who choose to play may begin to question who, if anyone is watching behind the camera.
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DYLAN PRICE • PORTFOLIO • 2014
ARCHITECTURE (SMALL) • I AM NOT MOVING
DYLAN PRICE • PORTFOLIO • 2014
ARCHITECTURE (SMALL) • PILGRIMAGE
PILGRIMAGE AN INVESTIGATION OF THE VALUE OF POSTINDUSTRIAL LANDSCAPE
This collaborative studio between first and second year students involved a tutor led investigation through the postindustrial landscapes of midwest wales. The investigation involved vistiting the scarred mountainside of Cwmystwyth, speaking to exmining communities and investigating current approaches to handling these types of landscape. Our output was expressed in short films and presented to the council. My film focused, though a fictional narrative, the power and implications of nostalgia. The aim was to create an awareness of some of the sensitivities required when handling the homes of ex-communities. The story of the film follows an elderly man's return to his abandoned mining village home, reflecting on the inhuman way he was relocated decades ago. Reaching his old church, he finds many of his friends returned to be buried in their home town. The village, in a sense, is still alive and growing.
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ARCHITECTURE (SMALL) • RIVER VALLEY HOUSING
RIVER VALLEY HOUSING
DYLAN PRICE • PORTFOLIO • 2014
STINT AT JY HUANG 3D MODELLING AND VISUALISATION A month long stint at JY Huang Architects allowed me to develop my skills as a 3d Modeller (in Sketchup Pro) and visualiser (rendering in V-ray for sketchup). Learning this software was mostly an independant process using online resources.
SECTION • TITLE • 2014
ARCHITECTURE (large)
DYLAN PRICE • PORTFOLIO • 2014
32-47 Rhyl Enterprise Centre 48-59 Reparation
ARCHITECTURE (LARGE) • RHYL ENTERPRISE CENTRE
RHYL ENTERPRISE CENTRE FOSTERING INDEPENDANCE THROUGH DESIGN AND INNOVATION
Rhyl's natural environment, especially the beaches and its location on the main Chester-Holy-head Railway line enabled it to grow as a seasidetown during the late victorian era. After half a century of success, changing tourism preferences have seen Rhyl experience a gradual but inexorable decline over the past 30 years. Like so many places whose economic base has become unable to adequately support them in a new era, Rhyl has become increasingly dependant on public expenditure programmes for its economic health. Shortfalls in public expenditures make a tangible difference and it is clear that there has been no sign of any real increase in capital spending over the past 5 years - a feature easy to confirm on the ground. In the context of revenue expenditure the widespread view is that it is barely able to keep pace with current demand and forces players to confront "robbing Peter to pay Paul" in a situation where the general level of unmet need is high. The outcome of this is an over-dependancy on external grant aid that results in a bias toward short-termism, a tendency to fragmentation of activity, and a deflection of objectives away from any coherent strategy for the town and toward external targets set by project funders.
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DYLAN PRICE • PORTFOLIO • 2014
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ARCHITECTURE (LARGE) • RHYL ENTERPRISE CENTRE
NON SPACE My starting point with this investigation begun with the concept of 'non-space'. After a free exploration of the area, four types of nonspace were identified and mapped. Interviewing the locals along the way proved to be a very rich source of infomation.
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UNINHABITED BUILDINGS B E A C H F R O N T A N D WA L K WAY F O R G O T T E N S PA C E
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ARCHITECTURE (LARGE) • RHYL ENTERPRISE CENTRE
THE BEACH "The old huts were knocked down - now its this fake landscape...modernisation for the worse. After 9, ASBOs stop me coming here...It took me five days after moving here to realise I was by the sea"
UNOFFICIAL PROGRAM (SITE) Interestingly, in an abandoned space, not far from a site, a rich set of uses has been created. This space has been used in the day time for childrens play (football) and also as a temporary soup kitchen for the homeless. This is largely due to it's relative privacy and shelter from the wind.
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DYLAN PRICE • PORTFOLIO • 2014
BOARDED DWELLINGS Boarded Dwellings prove a serious problem for the street's of Rhyl, and a single boarded building can seriously impact the quality of the entire street.
7 8THE "CHILDREN'S" VILLAGE
Designed as an entertainment zone for tourists and locals in the summer months, the Children's village is now a combination of empty buildings and re-purposed offices. The village is an inward facing (towards a water feature) barrier to the sea, where a Matta Clark intervention would be welcome.
ARCHITECTURE (LARGE) • RHYL ENTERPRISE CENTRE
TRUST In the wake of some some questionable and shortsighted decisions, the public have become wary of any of the councils attempts to regenerate the town. A new low risk proposal driven by locals will allow a more collaborative effort that requires communication.
EDUCATION Poor performance in schools poses great concern for the town's future. Providing alternative forms of education such as vocational courses will raise employability and independance for the younger generation in Rhyl.
CLOSING BUSINESS Business ventures are high risk, high reward. Providing cheap, exible short term spaces for start up businesses may reduce the risk of these ventures and provide support to increases chances of success.
SEASONAL INCOME Providing a hub for changemakers and innovators to meet and exchange ideas may yield long term solutions for new business and cultural ventures, that are designed by locals to help locals.
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DYLAN PRICE • PORTFOLIO • 2014
RHYL GOING FORWARD Despite areas of concern, the town displayed a strong sense of community and a shared drive to push the town forward. Many of the locals we spoke to were taking proactive measures to increase Rhyl's independance and train its workforce. This is perhaps Rhyl's greatest asset, and represents huge potential. Opportunity also presented itself around the proposal site, with successful businesses being able to expand, a useful shortcut through a demolishion site, and vacant buildings providing a possibility for integration with my own proposal.
9 : McWALTER’S CAFE VACANT BIG BEEFY BURGER
BUSINESSES COULD OPEN BACKS TO SITE
VACANT LANDSCAPE OF EXTENSIONS
VACANT
INTERESTING SPACES THAT COULD BECOME SMALL BUSINESSES
BURNT OUT BUILDING
COULD BE LEFT VOID TO DRAW PEOPLE INTO SITE
GENEROUS PUBLIC SPACE
LARGE ENOUGH FOR PUBLIC EVENTS AND SUMMER RETAIL PAVILLIONS
EXISTING ALLEYWAY
HONEYCLUB REFURBISHED VICTORIAN HOUSES
COULD HOUSE BUSINESSES
LAST ORDERS PUB
IDEAL FOR INFORMAL MEETINGS
TO BE TURNED INTO HOTEL, DRAWING SUMMER CROWDS
ARCHITECTURE (LARGE) • RHYL ENTERPRISE CENTRE
AN APPROPRIATE PROPOSAL Lessons learned from site analysis and previous regeneration projects in the area suggest a direction away from early suggestions in the initial brief for a theatre or music venue. I believe a hub that supports changemakers and entrepeneneurs (something Rhyl is not short of) is lower risk, longer term and will serve as part of a larger solution. The goal is to focus on on the town's strengths, whilst tackling areas such as education and amall businesses, giving the people of Rhyl the power to change their own future.
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DYLAN PRICE • PORTFOLIO • 2014
CONCEPT SKETCHES
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The building's central corridoor serves as its social hub and service space. Kitchen, bathroom and play facilities are all placed in a solid core. The corridoor leads to more private work spaces that grow from the core.
Concept drawings take into account growth and flexibility by providing a central permanent spine for building services, which can be replaced over the years.
ARCHITECTURE (LARGE) • RHYL ENTERPRISE CENTRE
THE ENTERPRISE CENTRE A CATALYST FOR GROWTH The enterprise centre has been designed with future growth in mind. It's form in plan creates a smaller, more usable public space in the centre of the site, and provides privacy for the victorian terraced houses directly adjascent to the west. The form itself is a reflection of the landscape of extensions in the buildings that surround the site, and future growth of the enterprise centre could be seen as a metaphor for growth in Rhyl as a whole.
foundations in the public square visibly mark potential for future work spaces. The concrete core houses social spaces such as the kitchen/common room in the centre, with a large shared meeting space/viewing platform at the street entrance. Also housed in the core are meeting rooms, a workshop and a media lab.
5 5 McWALTERS CAFE RETAIL BIG BEEFY BURGER PROVIDES OUTDOOR SEATING FOR SUMMER USE
OFFICES
CAN USE KITCHEN AND SOCIAL SPACES
SMALL BUSINESSES BEGIN TO REFURBISH AND REOCCUPY EXTENSIONS
SOCIAL HEART
PUBLIC EVENTS AND SUMMER RETAIL PAVILLIONS RETAIL HOTEL DRAWS SUMMER CROWDS
CASUAL MEETINGS
DYLAN PRICE • PORTFOLIO • 2014
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A GRID SITS ON THE SITE, DEFINING THE LIMITS OF THE ENTERPRISE CENTRE'S EXPANSION.
THE GRID ALLOWS FOR A VARIETY OF UNIT TYPES, DEPENDING ON THE REQUIREMENTS OF A START UP BUSINESS.
ARCHITECTURE (LARGE) • RHYL ENTERPRISE CENTRE
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STREET PRESENCE A BEACON OF GROWTH AND ENTERPRISE Effort has been made to maintain a modest scale at street level, and establish a friendly presence as a welcoming hub for growth and business.
DYLAN PRICE • PORTFOLIO • 2014
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INTERIOR SIMPLE, BRIGHT AND AFFORDABLE The main goal was to provide spacious and bright rooms for small businesses to set up. Cheap but hardwearing materials such as ply and plasterboard are arranged in clean forms with plenty of openings for light.
ARCHITECTURE (LARGE) • RHYL ENTERPRISE CENTRE
PLANS WITH PROJECTION OF FUTURE GROWTH
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LIFT (ACCES MEETING RO CAREERS AD RETAIL COFFEE SHO WORKSHOP KITCHEN/C OUTDOOR E SPACE FOR RECEPTION ADMIN PLANT WC OFFICE COMPUTER PARKING
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DYLAN PRICE • PORTFOLIO • 2014
SS TO VIEWING TOWER) OOM DVICE DROP IN CENTRE
OP P SUPPLY STORE CANTEEN EATING TEMPORARY RETAIL PAVILLIONS N
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ARCHITECTURE (LARGE) • REPARATION
REPARATION EXAMINING ARCHITECTURE'S ROLE IN REPAIRING A RICH BUT SCARRED URBAN LANDSCAPE
This project explores the duality of 'Reparation' and the role of architecutre in explicating complex cultural, emotional and humanitarian issues by creating within the Docks a 'Container' - a building part monument, part museum to provide a location for the recognition, assessment and interpretation of Bristol's role in the '... morally monstrous destruction of human possibility' that was the Transatlantic Slave Trade. The project is split into two sections: a Masterplan, which aims to regenerate the whole site and it's wider context, and the 'Container' - a museum type structure and beacon to address Bristol's troubled history.
'THERE SHOULD BE AN APOLOGY BUT IT SHOULDN'T STOP THERE. REPARATIONS SHOULD BE MADE FOR THE CITY TO AMEND FOR THAT SIDE OF BRISTOL'S HISTORY. BRISTOL IS A RICH CITY AND THOSE RICHES CAME FROM SLAVERY' - PAUL STEPHENSON, A VETERAN CIVIL RIGHTS ACTIVIST IN BRISTOL
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DYLAN PRICE • PORTFOLIO • 2014
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ARCHITECTURE (LARGE) • REPARATION
CURRENT SITE CONDITIONS A RESULT
OF OF
WWII BOMB DAMAGE,
ZONING AND MAJOR TRANSPORT
ROUTES HAS GENERATED SEVERE FRAGMENTATION OF THE SITE, WHICH SERVES AS AN IMPORTANT ENTRANCE FROM
BRISTOL'S
MAIN TRAIN
STATION.
6 6 MAP OF HISTORIC FRAGMENTS WITH NEW ROADS REVEALS DEGREE OF FRAGMENTATION MAP OF CURRENT SITE BOUNDARIES (WALLS AND BUILDINGS) WITH PEDESTRIAN FRIENDLY PAVING REVEALS LOW RESPECT TO HUMAN SCALE AND WALKING ROUTES
DYLAN PRICE • PORTFOLIO • 2014
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SITE (1900) - THE STREET SHOWS MULTIPLE SOFT OPENINGS AND SIGNS OF LIFE
SITE (2013) - SOME DENSITY LOST, MORE BARRIERS FOR PEDESTRIANS
ARCHITECTURE (LARGE) • REPARATION
MASTERPLAN BUILDING USES The goal was to increase footfall and inject life back into the site using a mixed use program. A mixture of commercial, residential, cultural, leisure and educational promotes a wide demographic over a broader timescale than any one program occupying the site. The aim is to create a richer and safer place in the city.
CHARITIES COMMERCIAL RESIDENTIAL/COMMERCIAL OFFICE/COMMERCIAL RESIDENTIAL CULTURAL/EDUCATION
CIRCULATION ROUTES Providing a more coherent experience walking through the site was extremely important. Two clear axis of shared vehicle/pedestrian circulation provide a spine for main traffic routes. Smaller, secondary routes re-introduce a denser grain into the site.
CARS/PEDESTRAIN PEDESTRIAN BUS ROUTE
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DYLAN PRICE • PORTFOLIO • 2014
HISTORIC FRAGMENT INTEGRATION/RE-USE Re-use and integration of historic fragment allows people to inhabit and use these historic spaces. If done sensitively, re-use can create interesting and poetic experiences that can tie a city's past with the present. There is also value to pure preservation, though this was not the approach taken here.
Quakers burial ground integrated into larger green walk.
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Old Warehouse structures reclaimed and integrated into an arts education centre.
St. Mary Redcliffe Church retains public green space at the back but is now integrated into a public space where its charity based cafe can benefit. Interaction on the north side has been returned to a more human scale.
Poet’s house now a small hub for Ministry of Stories a creative writing based charity for children. Integrated into site with generous pocket park.
PUBLIC SPACE Public space within the masterplan is comprised of a wide main street and generous, medium sized spaces punctuating the denser route. Care has been taken so that these spaces cater to areas of activity. Through site investigations of other public spaces in Bristol, there has been a tendency to produced oversized spaces in low activity areas.
ARCHITECTURE (LARGE) • REPARATION
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1. ANTI SLAVERY INT.
5. CAFE (EXISTING)
2. INTEGRATE BRISTOL
6. PUB (EXISTING)
3. REFUGEE RIGHTS
7. ART EDUCATION CENTRE
4. CREATIVE WRITING CHARITY
8. RESIDENTIAL/COMMERCIAL
DYLAN PRICE • PORTFOLIO • 2014
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13. SMALL SCALE COMMERCIAL
10. RESIDENTIAL/COMMERCIAL
14. SMALL SCALE COMMERCIAL
11. RESIDENTIAL
15. SMALL SCALE COMMERCIAL
12. CONTAINER
ARCHITECTURE (LARGE) • REPARATION
CONTAINER GENERATING A DIALOGUE BETWEEN PAST AND PRESENT
A structure of pure monument might simplify the topic of reparation into acknowledgement or apology, when perhaps a more appropriate response would be to generate an evolving dialogue where progress can be made. The legacy of slavery on the arts is also one that is constantly changing and is an ideal vessel to generate such discussions.
DYLAN PRICE • PORTFOLIO • 2014
Creating a structure to house a fixed historic exhibition and an evolving contemporary art exhibition, as well as an artist in resident, provides an ideal platform to generate a dialogue between the past and present that becomes richer with interaction.
ARCHITECTURE (LARGE) • REPARATION
JOURNEY THROUGH GALLERY The diagram on the right presents the journey of a visitor as they travel from the ground floor, through the main art exhibit and travel up the floors via a permanent historic timeline exhibit, providing context to the work on the ground level. This journey is punctuated by inward facing framed views of the exhibit and outward views of historic fragments on the site, establishing a literal connection with bristols history and legacy.
Artist rtist rtis tis ist Profi P of ofi file ile Views of gal Vie V galler gallery lery ler ery ya and an art Undi U d sp splay p ay yed y ed d piec p pieces/ iece ces/W c es o es ork in progr ogress o ogr og gress ess ss
Arti Ar rtists rrtis tiists st stud st udio ud - vis s sit itors e it encouraged enc to talk k with with res re iden nt nt art arrti rttist i .
Double he heigh h ght ht ht top-lit to top ttop-li op-lit p p-li lit llit s space forr Artefact rtefact efactt exhibition e o on
Lega e cies ciiie es so of Slavery: Slav Sa av v r Bla ack k co contr con co on ibution to th ontr he arts s
Role of S St Mary ar ary rry R Re ed liff edc ed iff e
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Views ws Mar aryRe ar y e cliff yRe yRed s to o St. Sttt. M Ma ary a ry cliffe
Slaverry Exhibit Exhib Exh Exhi h hibition ib b on - T bi biti Timeline ne e
The top floor houses a studio for the artist in resident. The visitors pass through to return to the ground level exhibit and are encouraged to interact with the artist and see the work in progress, before returning back down to the arg gallery on the first floor.
Time me eline line ine in c con co ontinued ed e d
view vie viewi v vi ewi ew ewing wiing ng g platform orm o m iint into o gallery
Arc A chive
Librrary y Cafe - views ew out ou ut to op park pa
ance nce ce ce. Entrance nc ce.
Walls for graffiti/outdoor exhibitio on
DYLAN PRICE • PORTFOLIO • 2014
GROUND FLOOR - SHADOW OF ROUNDABOUT FORMS ENTRANCE
FIRST FLOOR - BEGINNING OF HISTORY EXHIBITION
SECOND - LOWER RIGHT CORNER VIEW TO CHURCH
TOP FLOOR - ARTIST'S STUDIO ROUTE BACK TO GROUND FLOOR
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HISTORY
(PERMANENT)
HISTORY ART GALLERY (NON -PERMANENT)
The container is split into two sections - a constantly changing art gallery in the centre and a more permanent linear history display. The open plan nature of the gallery lends itself to flexibility, temporary dividers and large installations, whereas the linear route of the history section lends itself to a more scripted experience.
(PERMANENT)
SECTION • TITLE • 2014
PERSONAL PROJECTS
DYLAN PRICE • PORTFOLIO • 2014
62-65 Pervasive Game Proposal 66-67 Band Design 68-69 Visual Art
PERSONAL PROJECTS • PERVASIVE GAME PROPOSAL
PERVASIVE GAME PROPOSAL This project began as a personal illustration project, revisiting a game from my childhood and re-imagining it with the naive illustration style that I was at the time working on. It eventually grew into an interactive public art treasure hunt proposal that narrowly missed funding from a university run enterprise group. 'Highly Original Monster Catching Game' is an interactive art installation based around the concept of recognising the importance of play, exploration and imagination in a demographic that extends beyond children and young adolescents. Too often are we so absorbed by the pace of the daily grind that we forget to take a step outside of 'ordinary life' and enter a non-serious space where we can free our imaginations, explore the environment or simply become absorbed within a new rule set to no particular end. There exist social stigmas around both art and video games which limit the demographic for those who can enjoy either. The traditional format of both mediums requires time to be set apart to enjoy and focus solely on these activities, causing them to lose priority over more 'important' tasks. Installations in galleries are a minority of the general public as it can be an intimidating and somewhat alienating experience.
Although art in the urban context does exist, it is enjoyed for a short moment and does not invite participation on the viewers’ part. Our aim is to create a form of play that invades our everyday lives – an antidote to the serious. Our installation of small interactive illustrations of creatures will infect a designated Ward in Cardiff. A QR-code allows these images to be collected in a form of treasure hunt - the end goal being to find the entire collection. Your collection is represented on your profile on the 'Highly Original Monster Catching Game' website along with statistics about your previous discoveries. These illustrations are frequent enough to be noticed by the more perceptive or lucky, and small enough to encourage individuals to investigate their environment more on a daily basis.
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DYLAN PRICE • PORTFOLIO • 2014
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BOLYSHMIRL WEIGHING OVER 100,000 POUNDS AND MEASURING 15 FURLONGS IN LENGTH, BOLYSHMRL IS A FORCE TO BE FEARED. IT MOSTLY ACHIEVES VICTORY IN THE BOKEMON LEAGUE BY CRUSHING YOUR OPPONENT AND EVERYTHING AROUND IT WITH ITS MASSIVE GIRTH, INCLUDING THE STADIUM AND SURROUNDING TOWNS AND VILLAGES.
FROM ‘THE ULTIMATE GUIDE TO BOKEMON (AND LOVEMAKING)’ BY PROFFESSOR BOKE
PERSONAL PROJECTS • PERVASIVE GAME PROPOSAL
HIGHLY ORIGINAL MONSTER CATCHING GAME IN ACTION...
‘What’s this?.....’
P ‘WOW! WHAT LUXURIOUS CARD-
L supreme card quality for extra fanciness.
-huh... is that a QR code?’ Scanning...
It even has a watermark....
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DYLAN PRICE • PORTFOLIO • 2014
‘I’m going to tell....
EVERYONE I KNOW.’
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Happy hunting...
PERSONAL PROJECTS • DESIGN FOR BAND
DESIGN FOR BAND COVER ART AND MUSIC VIDEOS Collaboration with other designers and illustrators was a rewarding experience allowing me to take on a curator role, managing an overall aesthetic (in the spirit of 90s DIY) as well as producing some visual work. Video footage sources ranged from mobile phone recordings, liscence free movies on Youtube and home video tapes. EP artwork also relied heavily on found imagery.
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PRESS ILLUSTRATION BY GEZZLE DINE
DYLAN PRICE • PORTFOLIO • 2014
WHIG CROOKS AND BEER SWINDLERS EP COVER (JAN 2013)
WICCANS AND BEATLEMANCERS EP COVER ( DEC 2013)
MUSIC VIDEO FOR 'ARABESQUE BEDOUIN' (JAN 2013)
MUSIC VIDEO FOR 'FIX THE ROADS' ( DEC 2013)
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PERSONAL PROJECTS • VISUAL ART
VISUAL ART PORTRAIT OF TOM, COLOURED
& PERSPEX
During my A-levels, I was fascinated between the relationship between science and art. I was inspired by the work of Chuck Close and the way he abstracted faces into large landscapes of colour. I found the act of breaking down a detailed image into individual hand crafted pixels very satisfying. The process also gave me a unique understanding of the image I worked with. I discovered years later that Close used it as a form of therapy to overcome his face blindness.
220 MILLIMETERS
1760 MILLIMETERS
THREAD
DYLAN PRICE • PORTFOLIO • 2014
THANK YOU