Page 1

Issue 1 January 2018 David Bennett Rebecca May Peter Chadwick Kate McLean t Rebecca May Peter Chadwick Kate McLean David Bennett Rebecca May Peter Chadwick Kate McLean David Bennett y Peter Chadwick Kate McLean David Bennett Rebecca May Peter Chadwick Kate McLean David Bennett Rebecca May k Kate McLean David Bennett Rebecca May Peter Chadwick Kate McLean Professional and Academic Contexts


This publication aim to explore the two very different worlds of professional and academic practices. If professional work has a leaning towards industry application, academic work on the other hand focuses on a precise subject in a matter of research and pure creation.


Professional 08 David Bennett 14 Rebecca May Academic 20 Peter Chadwick 28 Kate McLean


Professional 08 David Bennett 14 Rebecca May


Professional and Academic Contexts

David Bennett Branding

“To design is to

communicate clearly, by whatever means you can control or master. Milton Glaser

8

David Bennett is director at OPX. He founded This Studio in 2007 as well as launching Visuelle.co.uk and publishing Edition magazine.


Professional

OPX is a branding agency creating experiences that transform brands, grow businesses and improve people’s lives. Its unique combination of larger agency process and thinking with smaller studio responsiveness and flexibility is a powerful one that delivers exceptional results. Look Mum No Hands became one of the most recognisable cycling brands in London. With their active event presence, they became one the de facto physical hubs for cycling aficionados, particularly in East London.

9


Professional and Academic Contexts

10


Professional

This Studio was founded by David Bennett in 2007. Ten years of working closely with clients to craft and produce creative work. The work has been featured in various design publications and books.

Whilst setting up This Studio, David also launched Visuelle.co.uk and published 3 editions of the magazine. Visuelle was set up in 2007 as a simple way to catalogue creative studios from around the world. It soon became popular within the global design community, and a new responsive design was created in 2014.

11


Professional and Academic Contexts

Rebecca May Handcraft Rebecca May has 13 years experience within the design profession, working for Fallon before becoming senior designer at the Design Council. Her Portmanteau book was published by Merrell.

14


Professional

“Design is in everything we make

but it’s also between those things. It’s a mix of craft, science, storytelling, propaganda, and philosophy. Erik Adigard

The illustration on the left comes from Design week magazine supplement presenting the Design Council’s research of the UK’s design industry. She handdrawn each character and gathered them digitally. The Bishop Review was a Design Council / Cabe report evaluating the future of design in the built environment. She designed this review while working at the Design Council. It is a good example of her typographic style. The typographic tree was part of an installation in Crawley library. She took part to this project designed at Why not associates, in collaboration with artist Gordon Young and crafted one of the trees. Rebecca May has always been keen on hand-crafting her designs before getting them on computer. Hopefully, her career began when she was spotted for one of her famous hand-crafted party invitations. Eversince, Rebecca May kept this unique identity, associating it with an International Typographic style.

15


Professional and Academic Contexts

16


Professional

What do the words digerati, quasar and youthanasia have incommon? They are all portmanteau words: words that fuse the sounds and combine the meanings of two or more separate words. The term was first used by Lewis Carroll in Through the Looking-Glass (1872), when Humpty-Dumpty explains to Alice some of the unusual words in the poem Jabberwocky.

Rebecca May created her A Z of portmanteau words while doing her Postagraduate Certificate in Design for Visual Communication at London College of Communication. Initially self published, it is now onto its second edition, published by Merrell.

17


Academic 20 Peter Chadwick 28 Kate McLean


Professional and Academic Contexts

Peter Chadwick Brutalism Peter Chadwick is a Londonbased art director and tutor in graphic design and communication at Chelsea College of Art.

20


Academic

“Talk about beauty and

Born and raised in Middlesbrough, graphic designer Peter Chadwick grew up in a town surrounded by concrete. Now, after decades researching Brutalist buildings around the world, Chadwick has compiled a book celebrating the divisive architectural style. This Brutal World features hundreds of black-and-white images of apartment blocks, chapels, theatres, galleries and hospital buildings from Sheffield to Nepal and Tokyo. Many were built in the 1960s and 70s but there are plenty of contemporary examples too, highlighting Brutalism’s influence on architects from Thomas Heatherwick to Zaha Hadid.

you get boring answers, but talk about ugliness and things get interesting. Rem Koolhaas

21


Professional and Academic Contexts

22


Academic

23


Professional and Academic Contexts

Where did your interest in Brutalism originate from?

Who would you say are your favourite architects?

You could say it is ingrained in me – growing up in Middlesbrough in the late 70s and 80s I was surrounded to the north, east and west of the town by industrial steel works and chemical plants. In my youth I also vividly remember visiting Trinity Square car park in Gateshead, Flaine in the French Alps and, closer to home, the Apollo Pavilion in Peterlee. These early formative experiences of Luder and Gordon, Breuer and Passmore have clearly left a mark on me.

This is a tough one – there are so many I could choose. Three of my favourites, in no particular order would be:

24

Owen Luder. Although Luder is, unfortunately, much maligned, I like his brave, sculptural, sci fi-like public constructions in concrete. Although both have now sadly been demolished, Trinity Square and the Tricorn Centre are definitely amongst my favourites. I am sure if they still stood today they’d have every chance of being listed.

What are the ‘best kept secrets’ of British Brutalism? Lina Bo Bardi. Although I’m yet to experience any of the Italian-born, Brazil-based architect’s work in person, her work seems to capture the essence and flair of South American life in concrete. Sublime. Erno Goldfinger. Both Trellick Tower in the 1990s and Balfron Tower in the ’00s have provided backdrops to my life in London. They both seem to reflect the forceful and abrupt nature of the architect’s character.

There are lots of amazing, but lesser-known, Brutalist buildings in the UK. Three of my favourites would have to be Peter Womersley’s Dingleton Asylum in Melrose, Wyndham Court in Southampton by Lyons Israel Ellis, and the anonymous Moorfield multi-storey car park in Truro, Cornwall.


Academic

Thameshead Posters by Peter Chadwick

If you could live in any residential Brutalist property in the UK, which would you choose?

How do you think the movement will continue to influence contemporary architecture?

I know it may seem obvious, but I’d have to choose an apartment in the Barbican Estate, preferably one with a lakeside view. I visit the Barbican regularly and it never ceases to amaze me with its interesting spaces, maze-like corridors, and the simple fact that Chamberlin, Powell & Bon knitted this beast into the post-war remnants of the City of London. It really is epic.

It absolutely will continue having an influence. One of the main reasons for writing ‘This Brutal World’ was to review and reappraise the term Brutalism itself. As a movement it’s been very divisive – perhaps because of the WWII-like aesthetic, the imposing windowless facades, or the continued appropriation by the media wherever a dystopian

backdrop is required. But, in my opinion there is a debt between the contemporary work of Herzog & de Meuron, Zaha Hadid and David Chipperfield, among others, to the older postwar buildings in the Brutalist canon.

25


Professional and Academic Contexts

Kate McLean Sensory Maps

28

S : summer 2014

Kate McLean is an artist, designer and creator of smell maps of cities around the world.


Academic

“While the visual dominates

in data representation I believe we should tap into alternative sensory modes for individual and shared interpretation of place.

mmary.cgi?cid=517055

ssicKitSoxhletExtractor.asp

The tools of her trade include: individual group smellwalks, individual smellwalks (the ‘smellfie’), smell sketching, collaborative smellwalks, graphic design, motion graphics, smell generation and smell diffusion, all united by mapmaking.

rg/ Date Accessed: 23.07.14

Kate McLean is part of a small but growing number of innovative practitioners committed to the study and capture of a highly nuanced sensory field : smell. She focuses on human perception of the urban smellscape.

29


and sub tle ]

e ey speicwy/ith h n t o h lot, stroopw e et • s[ id c w a s ] [ • e ] e a i f e e l k , S e d o u o t c c h d d •[ a•n[ ] •sh[sew l g i ] n a t i i ooContexts Professional and Academic yuTsh oon a a s c str d i o on huotlch / fc s o D d gg g friinegn is arl h t i ic, C er w[ har n l ] a • n r i h o [ d inat • [ ]• ] ilvyefl s e t " o c i w p h o n or Japa ell of s "n lig me m s e s h t n e k ] i l • I [ , w coff et ho ee) ] e ,n w • [ ca om e s e t lm/f gr bu d also summer being eeli l , o g c outside tin i v , free ] in • [ plas t o e n h r, u tw o a s lit e tle t et r r se, e n l reasures o t f a parinktein a city bring me joy, a lit ery v t j, us e pa

ms

et b ack i n tou ch wit h

[Ag

[ in tox icat ing ]•

]•

n

lu r o e t m

r] e h th i "w o k "To

ng

, co m t e we s [ ]• n o er spring soft ] • [ spring is comin w o g]•[ il, fl o sprin e g gg a s ard en fee lin g

m lgiu

ta ur

[

a n t , fa m i p ho s ice p S [ •

B ack i n ti m e . O l d g l i e n e f g r s a t n n e ] r d a p • [ C l ose

aw e e k. W o ul d go

c i tric musky ] • [

• [Summer – oirs] mem

n,

I ca

n tic, feel like

ro m a

, is

in g

for

[B e

to

st e r o af n i ing k l a w

t] • t] arke • [ W a ffl es in the m

o

uld y

r

ter a hw t u mo y er v [

re

re s

l,

frie nd, May , be ness ] • [ pond smell – stagnant w cau p ater ] • [ am fishy/w se she atery reco , yel mm low end ed the pla ce ]

, trav e

s e co

nd

ha

n

of m y

e, o tur , na p ] • [ green, fresh, open ] • [ park

[avsery rosy. honey-

•[

esc ape

[ dust, old room ] •

Rem inds me

ch

v

rim p s ip cy ]

fic

n

eci

i a r t is

,h a

ew

ldho od/zoo ] • [ I

sp me h so wit

n ic

, open ] • [ playin g ne ar t he c ana l , chi

e n oa

]•[

nk i h t can I g thin

y ou fi sh s e , a t y sh

ppetite! Fe eling good, C h i n e s e t a k e a w a y ] • [ my mother c o o k s i n d onesi a n f o od t w i ce

The

d

st

o r e ]•

S ik p ut – s i ( d con e, s t p a ring ini n ] • g [ rem p l i y n wo d s me o d )W e of sit t i o v n i g o d in m y– sit y o s w g eet ard g. P – e n i d n ry – ] nn i • p a [ int – Sm beg r e s e i l, – n o ll us ] • ntia [ N e w ness, new house – pote

]•[

y aker my b t, yum • [ swee ome ] at h ng

in esh ra fy fr lea

y alw a y s g

powdery, c

m ry ] • [ Su wde [elhl oliday – sea ] ncense po W a r m spicy – i ]• [

a k f a st

m

e r holidays in Holland ] • [ Sailing wit h

vironment, very old h d en o use

]•[ store rocery the g nk of

• [ it

]• [ m y

gr h a op t n dp a sh a re me of inds rem

is market like the Smells

sh t n are p nd a r g

e bri sweedge] •ti[n t fl es hu eorwers ngry/a Lik ] • [ m ntici p a a s ti

– ice

– B re

sh

. ] •[ • [ W fore ] at e in be r , s a lived l ty, ity I l a k e, n the c cts i no f r e obje sh ese ] •[ Chin eap • [very green, leafy ] • [ Sprinwgat ] g ch /Ser u / m d ellin garden me as s r by the at w n i t he ivy of

the m o r n ing

ess sg w smells di a ovetrearnidn

ri Tandoo

30

g

]•[

fee at e r ] w h t u lin o m g] kes your a m d n a st• [you a p s e h s ga t bru a h t rde d o f fo o l l e nin m es h t ga e v o Il [ • nd ] h c ar n u a sh l y a d n m u ed ] S y d n oanut, famil •[M a h r d s u y fat n e ] • [ s e co sta e r her w , l ve Torrakvsewlitng ] • a r t , l h wo e p ca s e [ nt are ndp [ gra

•[ no ] • o [ l s l w i u e q e r t a v B a n – i r l l a a biscturiety po am n i P t a all wdery] ood h yn • [wa d l i rm, c h e c ga aring tiv note ke tw in t he ith air, [m my • giv ] e pa es s u ren o fee h ts g lin n to vi o bu [ m and clean spring h s y ]o• e r f ]•[ •[ ] s ld t e c e Fre thi , ni ck n a a n sh j e l gs c ld ly , y O , p [ no w p • a h ] sta [ n ]• io lgi h s r s c] fa we o d • l fl y, [O r d • ] un e a l om an h e sh, rain – l e r c st F [ n ]•[

nature ]•

by. sive, overwhelming H e, aggres ] e • r fl invasiv [ N o ll. It's e r i m a c l pe et this s i r m f u 't like m es e , Ihdon de. g e Sm [ ] • [ its t m • t e i y l l of ion ng no t] s t e ethcet s og ain efl and an s h pan e d e r f d t m h s, r e a r k nd , e vi s frie

e

nt

s ( t he

nly o e h T [

• [ Rem ] p am d , y oke m ,s y d oo w int , tic er t a a ft k, erno o bo ons ] d l • [ warm, f amilial feeling[ o] • [ cosy and ho mely ] • [ hung g fr ry i]n t i kin m d o f w i n d. Co • [ L

g chocolate smell w n o r t s y r e e ha the v s i ve w of no


ote en rag we

ear thy –

[ ]•

R

“ … more is different. ew n f le l o m [s

[ co f f ee,

creamy, milky, , y war mm m] a j , •[C h s offe e r ,f e–

er rai n.

efu r in sh i n g a

s h op

– N ew

ll ,

girl o n

mmer holi u S [ ]•

– F AM I LY ]

re

wa r m , n ice

o

Academic

n ree dy, g after football ] • [ mud /san d y , m ther i sty, wet smell ] • [ mushroom Bro

an Du fa t t c h y – Dr te m fm a gra eam r k e ndp ing t ] • aren of N a [ t u d ts re ]

minds me

e life t sm – Sp ee r [isnwg

[D us t y sm e ll n e ar

a re n o v ate d faç

a bike z o

da rk –

sen sua l–

w

ian-like easter ell, Ind n s m e ll ] y sm • pic are [ rem which store gs ] • [ fish y , n g i n flower gm ds aryd mroasrkset.] • [summ tro o e – e s r m n , , f fl am en I d eo o owecom •[ i r l f y b updlet y] CChoc t i a s e m p olpypu e] • [ ina aw i • n w e gex]p• y] h ak a [ e ally w cflo et a t s w n sh e i e s c e d e r n happy, fi shop , i ] ex sw ter • e tially [ e , Ch t me fiplo s d c , par i o l s o o o l t i h h rket k e ] m n ] go s • 5 • s ma g c a e [ ju nt ] e1 erlkin [mPi fish e e • n e m s r F t t f d o i a , s ike f f te , it e ! r sumo ,n r i y, l l u e n c h , h a n o a p p et d fe "foFA ing e irt v l dam I r R fi " a ] • [c d fe e s aan ,h t lady hildhoo y – in Z p P i ry l c e a a l s cto

st i c b o a t ] •

isu e l , ark P l de n o V [

e] m i t re

ng i h s • [ fi

ft randmother's yar [A d dom ] • [ My g . No ]• work. Free i s ce. Hard ays eo ] • [ Spa g' d f ta nin sweet – r p e arde ,r • [ 'G ] • [ Wat soil ] d [ fresh ollan om ] • in H freed ys ling, da

ake

e] r o l t ow a s ork , f d w , a n d Itenovation rie ndso od/ r

o

cut a m th wo , her t s od b ju e ] • al , bitter, spicy ] • [ [s me ll o

y, s

i n c eI

nl y e n joye d i t w hen I l i v e dt h e re ]

thinki n g a b out na t u r e w aking

e ll e nd in a csotifnfee bicakry]s•m eeke g st [ -like. ] st w

arden", picnics, sum m e r , h a p py ] • [H r p h Park – our "g i a t u m i d groun d , l i g ht fl er o w er s int m e ll] • s e s, or v[sepryrinlognpgotime ] • [ musty ] • [ old hou df s i t i v e ]•[

e

e

are im t

m tap, creativity ] • [ sibdeeenof the sea ] • leaking afternoonves] • [A hint of somethinge d of t winter y chinI ehsae flowers, chinese shop, incse]w•e[ew oonodt oun otneicse] • [ wood n [ n s l e a • t s t i cksy, gs ere florienon] mic am pin lsa , cinn as

ci d n eeisa s p f f o c o• o[ d in h

g

tes t e ar

o sy c , g n i t r o f m o ]•[c

]

) • [ :-

u tt

er

]

On the left, is a map of smells of Amsterdam. People expect Amsterdam to smell primarily of cannabis. Cannabis has a strong smell, equal to asparagus, cleaning products, bacon and the dentists’ surgery in perceived intensity. But it only featured in a couple of neighbourhoods and missed inclusion here.

Instead spring 2013 in Amsterdam revealed an abundance of the warm, sugary, powdery sweetness of waffles. Oriental spices emanated from Asian and Surinamese restaurants and supermarkets, pickled herring from the herring stands and markets – a link to one of the city’s key historical industries. Old books were detected in basement doorways and laundry aromas drifted up into the streets from Amsterdam’s many house hotels.

The smell of sun, flowers and new leaves indicated the welcome arrival of a late spring and chocolate power drifted in in small clouds. Over 650 smells were detected by 44 people undertaking 10 smellwalks over a period of 4 days in April 2013. Based on written descriptions from the smellwalkers, 50 broad categories were identified. Both frequently-mentioned and curious smells feature on the map.

ng

ra

e] m i t d goo g n i a n r Mo b

iat c o s s •[Ia

f c of

e, w

do

spicy fres n e e h r s: g m sso o l gb

h it e

ee

o d /s a e w

,o

]•[ e ]• -lik r [ Fr e w es h. Gre . Earthy. Flo en

in spr

o

et

t ns o fc nch ] • [ b u l y it d a y Sund

[ amber musk b ]• a coffee, sugar, p a ate, s try col

il p

When things are combined meanings emerge, a most ce o b o d k l o s , an paper smell ldd sw o [ • ] i c , sm c i principle g ting woo l a t eeting new, cutbenevolent oke. Feels nos d ] h ] •[o met • [happ o s g y, pabehindldthe universe. n wo i d n l c i a od kes, s /ce , bu u n n n o dar y i Charles Jencks ] t • [c c wo u h r col cho a

] • [ na t u r e,

Dots mark the origins of the smells, concentric circles indicate their range and the warped contours allude to potential smell drift in the north- and south-westerley winds encountered on the days of the smellwalks. It is estimated that humans have the capacity to discriminate up to 1 trillion smells and our experience is highly individual; to walk and sniff is to know.

31

fr

s ] • [ hungry! Fa t time t y s any

d hoo ild ch

]•[

e me mak ells y sm Fish

th


Professional and Academic Contexts

“Smells form part of our

knowing, but are elusive, often disappearing before they can be described pinned down. Smell perception is an invisible and currently underpresented dataset with strong connections to emotions and memory.

32


Academic

On this layout paper is the map of scents of Glasgow made by Kate McLean in 2012. According to her, Glasgow’s scents reflect the pride of the people of the city and their ability to renew, regenerate and reinvent themselves and their buildings. 33


Professional and Academic Contexts

34


Pages 4-5: Image of David Bennett: https://www.linkedin.com/in/ david-bennett-882a0917/ Image of Rebecca May: https://www.linkedin.com/ in/rebecca-sadie-may595b4623/ Image of Peter Chadwick: http://www.artspace. com/magazine/ interviews_features/ see-music-industry-artdirector-and-brutalism-superfan-peter-chadwicks-favoriteworks Pages 8-9: Images: https://www.opx. co.uk/case-studies/look-mumno-hands/ Text: https://www.opx.co.uk/ Pages 10-11: Images and text: http://www. thisstudio.co.uk/work/ http://visuelle.co.uk/ Pages 14-15: Images: https://www. rebeccasadiemay.com/take-5/ https://www. rebeccasadiemay.com/ bishop-review/ https://www. rebeccasadiemay.com/ american-portraiture/ Text: https://www. rebeccasadiemay.com/ Pages 18-19: https://www. rebeccasadiemay.com/ portmanteau-az/ Text: https://www. rebeccasadiemay.com/ Pages 22-23: Images: Kempenaers, J. Monument Ilinden (Makedonium), Krushevo, Macedonia, 1974 by Jordan and Iskra Grabuloski. Available at: http://www. independent.co.uk/artsentertainment/architecture/ brutalism-how-brutalistcame-back-into-architecturalfashion-this-brutal-world-lecorbusier-chadwick-a7072931. html (Accessed/downloaded: 25 January 2018) Goudal, N. Observatoires. Available at: http://noemiegoudal.com/ observatoires/ (Accessed/

downloaded: 25 January 2018) Chadwick, P. http://popularuk. com/p/brutalHouse (Accessed/downloaded: 25 January 2018) Text: https://rhystranter. com/2016/05/31/this-brutalworld-peter-chadwickbrutalism-architecture/ Page 24-25: Image: Ohayon, E. Page 26-27: Text: The Modern House (2016) On Brutalism : An interview with Peter Chadwick. Available at: https://www.themodernhouse. com/journal/on-brutalisman-interview-with-peterchadwick/ (Accessed: 25 January 2018) Images: Chadwick, P. (2016) Thameshead Posters Pages 30-31: Images: McLean, K. (2014) Two Canterbury Smells. Available at: http://sensorymaps.com/ portfolio/two-canterburysmells-summer-2014/ (Accessed/ downloaded: 25 January 2018) Texts: http://sensorymaps. com/ Pages 32-33: Images: McLean, K. (2014) Smellmap: Amsterdam. Available at: http://sensorymaps. com/portfolio/smellmapamsterdam/ (Accessed/ downloaded: 25 January 2018) Text : http://sensorymaps. com/portfolio/smellmapamsterdam/ Pages 34-35: Image: Passmore, L. Lauren. Available at: http://nouszine. nousmodels.com/lucaspassmore/ (Accessed/ downloaded: 22 January 2018) Layout paper: McLean, K. (2012) Smellmap: Glasgow. Available at: http://sensorymaps.com/ portfolio/glasgow/ (Accessed/ downloaded: 25 January 2018)

35


Professional and Academic Contexts

36


Printed and binded at: London College of Communication on 26 January 2018. Paper: Paperback Recycled 170gsm Pergamenata - White 110gsm Tracing Paper - Light 112gsm

37

Professional and Academic Context Publication  
Professional and Academic Context Publication  
Advertisement