Portfolio of selected works - Harry Musson

Harry Musson Portfolio of Selected Works 2019

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CONTENTS //01 Euphoric Impressions 2019 p.04 - p.09 A Media Production Centre with infused artist studios produced for the Masters thesis, and is based in Hong Kong Central.

Themes revolve around the reproduction of the euphoric qualities of Hong Kong’s street signage, with the overall intention of helping Hong Kong regain a sense of identity.

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Scalar Clash

Vallastaden 2017

Lyttelton Naval Museum

2018

2017

2015

p.10 - p.15

p.16 - p.21

p.22 - p.27

An Office Tower in TriBeCa, New York City with injected social and retail spaces, with varying degrees of social interaction levels.

A sustainable housing complex produced for an exhibition based on concepts of sustainability, diversity, and co-living.

A Naval Museum produced with the intention of replacing the pre-existing museum destroyed in the 2010-2011 Earthquakes in Christchurch, New Zealand.

Produced as a salve for the overwhelming nature of New York City and with the intention of accommodating different types of working styles.

Based in Linkรถping Sweden, and is a professional project produced while working for a Stockholm firm.

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Draws upon themes of the surrounding sea and from ideas based on the concept of the primary purpose of museum - the transfer of knowledge.

//01.

Euphoric Impressions.

Hong Kong, China.

Year Two Masters - 2018/2019.

All displayed work is my own.

Hong Kong is a city of multiple distractions - various artefacts and objects all competing for attention. The most prominent of which is the sheer amount of signage, littering the faces of buildings, protruding over the streets. The resulting overwhelmingness provokes a state of euphoria in the inhabitants and visitors, achieved through the spectacle and allure of the signage.

Hong Kong is losing its identity as Asia’s financial hub, however, it retains two key characteristics over mainland China - its freedom of speech, and its identity as Asia’s rising arts hub. Can we hybridise the two typologies in one building to foster each other and to allow this other, competitive identity to grow?

Through extracting the qualities of Euphoria by sampling the physical characteristics of signage, I propose to inject artist studios into a Media Production Centre. Both will be of a hot-desk style of workspace, with different scales of hireable spaces for the purposes of producing media and for producing art. This will overlap in many ways so some facilities will be shared. This ensures that Hong Kong’s freedom of speech remains by introducing a more public typology into a typically very private one to ensure the media is held accountable, while the artists are given the opportunity for exposure with good working facilities, amplified by the potential to be displayed in the exhibition space below.

The resulting hybridisation is a state of euphoria for both, where the artists get the full intense experience of being inside the resultant sampled object while the media creators get more of an observational experience of the object.

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PORTFOLIO

PMQ Holl

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Gage

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2. Primitive Tetrahedron

HARRY MUSSON

1. Site

PMQ

Gage

St

EUPHORIC IMPRESSIONS

3. Split

4. Expand

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PORTFOLIO

HARRY MUSSON

EUPHORIC IMPRESSIONS

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PORTFOLIO HARRY MUSSON EUPHORIC IMPRESSIONS

Through sampling the 2D and 3D qualities of the signage of Hong Kong streets, an amalgamation of objects can be produced that represent the euphoric qualities of the real signs in Hong Kong. These sampled objects acts as a counterpoint to the normative spaces of the design.

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Scalar Clash.

TriBeCa, New York.

Year One Masters - 2017/2018.

All displayed work is my own.

The striking volumetric differentiation of TriBeCa creates a disorienting condition which presents the possibility of a multitude of architectural opportunities. This disorienting condition creates a memorable experience and lends itself to form TriBeCa’s identity.

New York City has a population of 8.5 million people, yet meaningful social interactions rarely occur due to its sheer volume of people and the impossibility of being able to converse with every person. The city is a major contributor to stress levels experienced by each person due to the never-ending amount of stimuli, so one withdraws into themselves as a coping mechanism to be able to deal with the city.

Can this scalar clash experienced in Tribeca be reproduced to fabricate these feelings of disorientation and use them as a tool to gently foster meaningful social interactions?

The design takes the form of an office tower which provides the users with the freedom of choice and movement to work in their most effective working style, as in doing so, they will also be given the choice of the level of social interaction they wish to encounter.

This is achieved through a dissolution of the office tower to subvert expectations of a typical working environment, and to divert attention away from the overwhelming nature of the city. This is achieved through a transplantation of disorienting forms into the office tower.

Such unfamiliar spaces of varying degrees of disorientation and social interaction levels partially emulate the conditions of the city, but through careful curation, becomes a salve for the overwhelming and disorienting nature of the city.

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PORTFOLIO HARRY MUSSON SCALAR CLASH

1. Extrusion from Site parameters.

2. Top edges reduced to lessen shading impact.

3. Boolean subtractions performed to dissolve the volume.

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4. Resulting Primitive Object.

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PORTFOLIO

Socialise

HARRY MUSSON

Play

SCALAR CLASH

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Vallastaden 2017.

Linkรถping, Sweden.

Professional - 2016.

Produced while working at Omniplan AB.

The project was designed and built as a sustainable housing complex as part of an exhibition promoting various different types of feasible and innovative housing types located in Linkรถping, Sweden. The exhibition was based on concepts of variety, diversity, sustainability and community living.

This particular project had a focus on using sustainable materials and sustainable performance which included a high level of insulation, communal heating, energy efficiency and solar power. It also had a focus on bringing the community together by fostering social interactions through communal transitional zones, non-partitioned balcony spaces, and communal social spaces on the two roof levels.

My personal level of input into this project was 3D digital modelling the entire project, all rendered illustrations, as well as producing some sections, elevations and 2D + 3D details for building permits, for tender, and for the construction phase.

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PORTFOLIO HARRY MUSSON

Section A:A

Section E:E

VALLASTADEN 2017

3D Detail - Roof to Plant Room Junction

3D Detail - Plant Room Enclosure

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PORTFOLIO

East Elevation

3D Detail - Roof Layers

HARRY MUSSON

South Elevation

3D Detail - Roof Layers Dissected VALLASTADEN 2017

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PORTFOLIO HARRY MUSSON VALLASTADEN 2017

2D Detail - Roof to Plant Room Interior

2D Detail - Roof to Plant Room

2D Detail- Plant Room Enclosure

2D Detail - Roof to Wall Junction

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Site Photograph

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PORTFOLIO

//04.

Lyttelton Naval Museum.

Lyttelton, New Zealand.

Undergraduate - 2015.

All displayed work is my own.

HARRY MUSSON

At 4:35 a.m. on September 4th 2010, the ground shook beneath the sleepy port town of Lyttelton, New Zealand. Many lives were lost, and irreparable damage was done.

This is one of many significant moments in the history of New Zealand that occurred in this area. However, due to this event, Lyttelton no longer had a facility to immortalise their history.

I took on this project to ensure something would be created that would encapsulate the important influences of the region, as well as creating human focused architecture by designing the building programme to cater for all in the community. This design had to be appreciated by all in this tight-knit community for it to be successful, which would be achieved particularly by giving their history back.

LYTTELTON NAVAL MUSEUM

This is the Lyttelton Museum - Knowledge Transfer Centre.

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PORTFOLIO HARRY MUSSON LYTTELTON NAVAL MUSEUM

Enclosure.

Structure.

Transluscent concrete was chosen for its aesthetic value in generating the ship and sea motifs through its light permeability, as well as acting as a further bracing element for the structural system

The structural system is composed of glulam portal arches which have the capability to span the large spaces in the design.

These were chosen, not only for their strength, but also their lightweight features, their cost effectiveness, as well as their positive environmental impact.

Thermo bi-metals are a passive solar system which controls the solar gain, as well as reinforcing the uncertainty metaphor through the shadows created.

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PORTFOLIO

Those who cannot remember the past are “ condemned � to repeat it.

Jorge Santayana

The entrance of the museum begins with a wave-like, curved form. This represents uncertain knowledge, or lack of knowledge one has of a topic before entering. As one delves deeper into the museum, the architecture transfigures into the form of the bow of a naval ship which represents the certain knowledge gained within the museum.

HARRY MUSSON

The design considers the importance of the surrounding influences and incorporates it within the architectural form and programme. The form of a wave, and the bow of a naval ship were two strong influences which were not merely copied from the immediately surrounding influence of the sea , but were used to represent the essence of the idea that museums are about. The transfer of knowledge from less to more, from uncertain to certain.

As the visitor progresses through the museum, they will gain more knowledge, away from the uncertain entrance, towards the certain end.

Spatial.

The interiors are largely affected by the entering sunlight, through the enclosure systems of the transluscent concrete and thermo bi-metals, which create shadows that capture the essence of sea-like chaos.

Just as a ship cannot exist without water, certain knowledge cannot exist without uncertain knowledge.

LYTTELTON NAVAL MUSEUM

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THANK YOU

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