Hossain Takir
Part 1 Architectural Portfolio Projects:
Recolouring the Gods Pepperpot House Brick Lane Recycling Centre
The Hokus-Eye
Guyanese Community Garden The Wave of Peckham
THE GODS
Recolouring the Gods is a collaborative project between Japan and Greece, to reconstruct and repaint ancient Greek sculptures by using advanced imaging technologies such as multispectral and hyperspectral imaging, to discover the true colours of the ancient Greek sculptures present today. Due to the weathering which primarily caused the loss of the colours in Greek sculptures and temples, it was believed for thousands of years that this ancient population did not use any colours at all in their culture. However, with recent technology, it has been discovered that in fact, this view was completely incorrect in our understanding of this ancient civilisation.
I will be developing the project through a deep investigation of the technology of multispectral and hyperspectral imaging, and developing the building's programme through the understanding of the reconstruction process of analysing, processing, reconstructing and repainting of ancient Greek sculptures. The building's programme will be developed through intensive research on ancient Greece and spectral imaging technology.
One of the primary methods that I will be using to develop the project will be through illustrative diagrams and drawings.
The aim of the design will be to create a space that will accomodate the reconstruction, painting and displaying process of these ancient Greek sculptures.
OLD JAPANESE PHOTOGRAPHS AND ANCIENT GREEK STATUES
Kusakabe Kimbei was a Japanese photographer active in the late 19th and early 20th centuries. He is best known for his work as a photographer in Japan during the Meiji era. Kusakabe Kimbei was a student of Felice Beato, a pioneering Italian-British photographer known for his early work in Asia.
His work was renowned as he coloured over the black and photographs he took with watercolours. His work was highly staged and, despite seeming to represent the Japanese culture at the time, it was a very romanticised view of Japan. For example, samurais ended up existing by the end of the 18th century, but his work represents them as if they still existed in the early 20th century.
Most of the Ancient Greek Statues and buildings were vibrantly coloured. This was found through advanced x-rays and imaging techniques.
Woman With An Umbrella 1899 Japanese Travellers 1899
Samurai in Armour1899
Athena Lemnia 451 BCE Reconstruction of Athena Lemnia 451 BCE Reconstruction of Ancient Greek Statues in Colour
REDISCOVERING COLOURS ON ANCIENT GREEKS STATUES
Two German archeologists Vinzenz Brinkmannand and Ulrike Koch-Brinkmann made and exhibition in 2003 in Germany where they displayed reconstructed ancient Greek statues being in their original colours.
MODERN TECHNOLOGY TOOLS TO IDENTIFY LOST COLOURS -HYPERSPECTRAL IMAGING
Light bounces in surfaces in different ways. A piece of marble which was once coloured but lost its colour due to weathering is going to have light bouncing on it differently than a plain piece of marble
ELECTROMAGNETIC SPECTRUM
Luminescene of Egyptian blue in infrared light Experimental color reconstruction of the Small Herculaneun Woman (detail)
Infrared Luminescne Photography
The Hyper-Cam
Normal cameras are able to only capture the visible light
wavelenght
wavelenght
MIRRORLESS CAMERA
HYPERSPECTRAL CAMERA
Tangsten halogen lamp 3000-4500k
EmmanouilBenaki
EmmanouilBenakiSolonos
Minoan Civilazation (c.3000 - 1100 BCE)
Mycenaen Civilazation
Archaic
PERIODS
Classical Period (c. 480-323
Hellenistic Period (c.32332 BCE)
3 Terracotta female figures Helladic, Mycenaean 1400–1300 BCE
(c. 1600 - 1100 BCE)
3 Terracotta female figures Helladic, Mycenaean 1400–1300 BCE
Dark Ages (c. 1100-800 BCE)
3 Terracotta female figures Helladic, Mycenaean 1400–1300 BCE
Period (c.800-400 BCE)
3 Terracotta female figures Helladic, Mycenaean
BCE) CHOSEN
Terracotta statue of the Diamoumenos 1st century BCE
Roman Period (146 BCE - 330 Marble statue of a wounded warrior 138 - 181 CE
Terracotta statue of the Diamoumenos 1st century BCE Grinding the pigments with
Azurite
Azurite - Blue Earths - Yellow Soot and Charcoal -
Gypsum - Malachite - Green Hemetite - Red
Traditional raw materials to make paint
The site is located in a small parking for motorbikes in Solonos Street, Athens. It is about tweny minutes walk from the Acropolis, which is situated soouth of the site.
Solonos Street has been associated with political activism and anarchist movements in the past, particularly during periods of social and political unrest in the country.
PROTEST AND REVOLT CULTURE
BOOK SHOPS, PRINTING AND ACADEMIC ZONE
Acropolis Site
ARCHITECTURAL REFERENCES
ARCHITECTURAL REFERENCES - VERTICAL DISTRIBUTION OF SPACES
Roy and Diana Vegelos Education Cetre by Diller Scofidio + Renfro
ARCHITECTURAL REFERENCESSTRUCTURAL INSPIRATIONS
Detail drawing by Amin Taha architects, now called Groupwork, showing how the columns support the floor slabs acting as the primary structural elements and as also being the facade.
ARCHITECTURAL REFERENCES - CIRCULATION
Considering having a lift in the middle of
to
The working space acts also as an elevator help-
Bordoux House
EMBASSYS VARIOUS DESIGNS
Embassys have the option to either adapt the architectural style of the host nation or showcase their own traditional style in the building.
EDUCATION AND ACADEMIC RESEARCH USED A S AWAY TO UNITE TWO NATIONS
The British School at Athens is an institute for advanced research, one of the eight British International Research Institutes supported by the British Academy, that promotes the study of Greece in all its aspects. The School was founded in 1886 as the fourth such institution in Greece.
I am interested in how the British School in Athens acts as an institution that helps both nations (The United Kingdom and Greece) in terms of academic and archaeological research.
I am interested in exploring how my embassy could act like the British School in Athens.
Japan Embassy in Greece by Kisho Kurogawa
Greece Embassy in Japan
Belgium embassy in India
Greece Embassy in Japan
The British School in Athens floor plan
MASSING AND PROGRAMME DIAGRAMS
Japanese garden for intagrating some aspects of the Japanese culture in the building
Painting and paint making spaces for the re-colouring of the sculptures
Workshop spaces for the reconstruction of the sculptures
Studio spaces for hyperspectral imaging and laboratory for further research on the
Accomodation spaces for the users.
Public square whicih can be used for protesting intagrating the programme with the
+ Stairs
Massing 2 Pros: Overall idea of the programme vertically spread through the building.
Massing 1 General idea of each floor’s height and the whole building’s height.
Accomodations
Entrance + Library
Masssing 3 Pros: More diversity in each floor
Cons: Facade could be improved and be more playful and unique
ITERATION 1
The access of the building for the users, the lifts and the stairs has been placed in a suitable location not disrupting the plan.
Cons: Poor access for statues.
A: Entrance
B: Reception
C: Library
D: Office
E: Toilet
ITERATION 3
What changed?
The parking space for the van has been moved in a more convinient location near the statues’s lift.
Cons: The library/gift shop space does not appear as relevant and important in the programme of the building.
The
A: Entrance
B: Reception
C: Library
D: Toilets
2
What changed?
The lift for the statues has been moved in the front becoming a key part of the building.
Cons: The parking space for the van that will be carrying the statues is in a inconvinient location.
A: Entrance
B: Reception
C: Library
D: Toilets
E: Lift for statues
ITERATION 4
What changed?
The library/gift shop has been replaced by a public square for protests to unite linking the space with the context of the site in which histotically many anarchists lived and protests began in the city.
Cons: The stairs to go down the publlic square is a bit small compared to the rest of the space, and it will not be accessible for wheelchair users or trolleys.
A: Entrance
B: Reception
C: Public square
D: Seating spaces
E: Stage
F: Parking space for van
5
A: Entrance
B: Reception
C: Stairs
D: Lifts
E: Ramp
F: Public square
G: Seating spaces
H: Protest stage
L: Van parking space
M: Statues lift
N: Columns
ITERATION 1
ITERATION 2
The first floor plan for the accomodation was not organised well. The bedrooms were too large and the lift in the middle was not suitable for the design.
A: Stairs
B: Lifts
C: Corridor
D: Apartments
E: Statue lift
ITERATION 3
F: Director’s bedroom
G: Kitchen + living room
What changed?
More bedrooms were added and the existing ones were made smaller.
Extension of the building by 1 m
Bedrooms
Kitchen
ITERATION 4
What changed?
The awkward arrangement of the bedrooms were resolved with having the walls run perpendicular to each other.
A: Stairs
B: Lifts
C: Office
E: Bedrooms
F: Living room
G: Kitchen
H: Statues lift
What changed?
Supporting structural columns were added to make the building more resistant.
Cons: The structural columns inside the buildings are too large and disrupting the spaces
ITERATION 5
A: Stairs
B: Lifts
C: Office
D: Corridor
E: Apartments
F: Kitchen
G: Living room
H: Statues lift
L: Central corridor
COLUMNS STUDY - GREEK AND JAPANESE COLUMNS
GREEK COLUMNS
A column without capital would require a thicker horizontal tablature (beam) to distribute its weight more evenly across the supporting structure. The capital spreads the load from the entablature more efficiently, reducing the need for excessive thickness in the horizontal beam.
JAPANESE COLUMNS
The column’s capital helps to distribute the weight of the horizontal supported beam evenly across the column shaft. By spreading the load over a wider area, the capital helps prevent localized stress concentrations that could weaken the column or the supporting structure.
TESTING STRUCTURE TYPOLOGY
Doric Ionic Corinthian
Thick columns thin floor slabs
Thick floor slabs and thin columns
Multiple thin columns and thin floor slabs
The building’s height is approximately 40 metres and is much taller than the surrounding buildings. The reason for that is to accomodate all the programmes vertically as well as making this structure a part of the city, to represent the reconstruction of ancient Greek statues which was a big part in the ancient civilazation and the country’s identity.
STREET VIEW OF THE BUILDING
AXO VIEW OF THE BUILDING
HISTORICAL REFERENCES OF COLOURS IN ANCIENT GREECE
Ochre
Red
Ochre and earth tones used even in prehistoric cave paintings - France
Predominant use of earth tones primarily ochre
Hametite comes in different forms including a dark tone and a reddish tone. Both of them can used to to make red and ochre paint.
Yellow
Euboea/Evia Is-
The Lavrion Mining District
Temple of Athena
Temple of Athena
COLOUR PALETTE
Minimal use of colours
Use of blue and sand tones as a way to experiement with different tones
Experimenting with textures and tiles for the cladding
Bright colours, using loads of red as it was one of the most popular colours in ancient Greece
MODEL MAKING
PROCESS OF MAKLING
- Make digital 2D files to be laser cut - Laser cut each pieces individually - 3D print the columns
- Use of 1.5 mm mountboard
- Use of coloured acylic sheet
- Coloured in spray paint
Laser cut mountboard
3D printed columns Laser cut acrylic sheet
FINAL ELEVATION AND MATERIAL REFERENCES
The facade colour scheme is to dictate the various programme zones of the building.
Photography + laboratory
Entrance + Staff accomodation
Glossy turquoise terra cotta
Gold terra cotta
Steel
Copper
Eastern Columbia building
Drone photographs by Chris Hytha
Polished black Green and gold terra cotta
Gold leaf with bronze trim
Carbide and Carbone Building
Gallery 1 (Archaic)
Gallery 2 (Classical)
Gallery 3 (Hellenistic)
Japanese zen garden
Calcatta Vena Orange marble
Front elevation
A - Main entrance
B - Reception
C - Stairs
D - Lifts
E - Ramp
F - Seating spaces
G - Stage
H - Vehicle passage
K - Sculptures lift
A - Stairs
B - Lifts
C - Office
D - Corridor
E - Kitchen
F - Bedrooms
G - Living room
H - Sculptures lift
A - Stairs
B - Lifts
C - Toilets
D - Private terrace
E - Corridor
F - Storage
G - Meeting room
H - Studio space
K - Hyperspectral imaging
L - Laboratory
M - Stairs
N - Sculptures lift
O - Platform for statues
A - Stairs
B - Lifts
C - Toilets
D - Corridor
E - Material storage
F - Casting space
G - 3d printing and CNC room
H - Interior balcony
K - Hyperspectral imaging
L - Statues terrace
M - Stairs
N - Sculptures lift
A - Stairs
B - Lifts
C - Toilets
D - Corridor
E - Storage
F - Sculptures drying area
G - Paint making room
H - Painting area
K - Sculptures platform
L - Stairs
M - Sculptures lift
N - Marble shading
A - Stairs
B - Lifts
C - Toilets
D - Corridor
E - Reception + cloackroom
F - Sculpture storage
G - Main gallery
H - Stairs
K - Sculptures lfft
L - Marble shading
M - Sculptures platform
A - Stairs
B - Lifts
C - Toilets
D - Corridor
E - Main gallery
F - Sculpture storage
G - Stairs
H - Sculptures lift
K - Marble shading
L - Sculptures platform
A - Stairs
B - Lifts
C - Toilets
D - Corridor
E - Main gallery
F - Sculpture storage
G - Stairs
H - Sculptures lift
K - Marble shading
L - Sculptures platform
A - Stairs
B - Lifts
C - Toilets
D - Pavement
E - Stones used as walways
F - Sculptures
G - Sculptures platform
H - Pavemnt
K - Sculptures lift
L - Marble shading
150mm Galvanised steel strap
20mm Mortar between column and lintel
356x171x45KG Galvanised UB with 10 mm end plates
20mm Leveling Mortar
STRUCTURAL DIAGRAM
Stairs
Elevator
Metal Beams Marble Columns
Transluscent marble is another option that I have considered to reduce the amount of uv radiation and daylight that the building could gain.
Transluscent marble is made by cutting thing sheet of marble of approximately 100mm300mm, stuck on clear glass with epoxy resin.
Transuluscent hemetite screens will be placed in front of windows to act as shading devices .
Internal view of the ground floor protest square
Internal view of the 3rd floor photography studio and lab
THE HOKUS-EYE
The Hokus-Eye draws its inspiration from Hokusai’s ambitious project of depicting ‘36 Views of Mount Fuji,’ a renowned collection that includes my own artifact, ‘The Great Wave of Kanagawa.’ My exploration is centred around the complicated methodology to create his prints, and the way he was able to create depth on his images, which from my observation, a primary way he did that was by using a pallette of diverse patterns used to depict different things such as light, shadows, water and sky. I am interested in exploring the various stages involved to create the Great Wave of Kanagawa alongisde the other 35 prints, and develop my own methodology to create a response inspired by that. I intend to use the medium of photography, loose drawings, woodblock carvings and ultimately printing and collage as a way to develop my own responses to Hokusai’s Great Wave. For my final design I visualise creating a space that displays and takes on a journey through the process of creating my final prints and responses to this artefact.
TYPICAL PRINTS DURING THE EDO PERIOD
Hokusai was one of the few artists in Japan that began capturing the Japanese landscape and activites of people in his work. Whereas, most other Japanese artists used to depict portraits of famous actors and actresses.
from 200 miles away
Mount Fuji, the tallest mountain in Japan appearing minuscule in comparison to the wave
Three fishermen boat terrified and unsure if they will be able to reach the shore
-Height - 3,776 m
-Tallest mountain in Japan
-Object of worship in traditional Japanese culture.
- Centre for the Shun gen do sect which combined traditional Japanese mountain worship with the non-native religion of Buddhism.
-People used to worship the mountain by climbing it together and do traditional rituals.
HOKUSAI’S
INSPIRATIONS
Visible from 40 miles away
The Great Wave of Kanagaua1830–32
Christ on the storm on the sea of Gallilee by Ludolf Backhuysen 1695
Ships in Destress off a Rocky Caost by Ludolf Backhuysen 1667
Lovers Walking in the Snow (Crow and Heron) by Suzuki Harunobu 1764–72
“Hour of the Rat: Mistress,” from the series Women’s Daily Customs (Fuzoku
Kabuki Actor Ōtani Oniji III as Yakko Edobei by Tōshūsai Sharaku 1794
- Height - 310 m
- One of the tallest buildings in Europe and the tallest building in the UK
- Designed by Renzo Piano and completed in 2012.
- The Shard symbolises the economic growth of London and its
Visible
MATERIALS USED
Hokusai hardly ever worked alone. He had a team of about 4 to 5 people, including a publisher which would commision an artwork, and then an artist would draw the artwork, a drawing whioch will then be passed to the wood cutter to carve into a woodblock, and printer to finally make prints wout of the woodblock carving
1. Glue the drawing on a wooden block 2. Peeling off the paper
3. Carving the drawing on the wooden block 4. Colouring of the wooden block PROCESS
5. Pressing of the printing paper on the carved wooden block 6. Final print
Hokuzai’s team
cutter
Baren - Used to press the paper on the wood block
The woodblock would be made of a hard wood, often from cherry tree as it had to withstand thou-
Thin paper Power fabric paint
DECODING THE WAVE
The drawing is exploring the linework and pattern of the wave The drawing is exploring the pattern of the water
ABSTRACTING THE WAVE (CREATING MY OWN DRAWING LANGUAGE)
The drawing is exploring the light and shadows of the wave and water
In this drawing I am blocking out the different colours used in the print. Each colour had its own carved wooden block
APPLYING MY OWN DRAWING LANGUAGE TO THE VIEWS OF THE SHARD
The initial task was to discover out drawing language by doing 50 different and experimental drawings
STEP 1: ABSTRACTING THE PATTERNS OF ELEMENTS AND TEXTURES FROM THE ORIGINAL PHOTOGRAPHS OF THE SHARD
EVOLUTION OF DRAWING LANGUAGE AND TECHNIQUES
EXPERIMENTING WITH STAMPS
Stamp 1 - Shard (made with white card)
Test 26
Stamp 2 - Water (made with white card)
Test 27
Stamp representing houses
Test 28 - Abstraction of houses 1
Stamp representing trees
Test 29 - Abstraction of trees 1
Stamp 3
Test 30 - Abstraction of house 2
Test 31 - Abstraction of waves
Model 1
A word that came to mind when observing the Great Wave was “dynamic.” This led me to explore dynamism and futurism, inspiring me to develop my abstract drawing language through these movements. Umberto Boccioni’s work inspired me to be more playful with distortion and perspective, further developing my drawing language.
Dynamism of a cyclist by Umberto Simultaneous Visions by
STEP 3: COLLAGING THE PREVIOUS PHASES TOGETHER AND EXAGERATING FORM AND PERSPECTIVE IN ORDER TO GIVE A 3D DIMENSION
Collage 1
Collage 2
Collage 3
Collage 4
Collage 5
Collage 6
STREETSCAPE
STEP 4: APPLYCCATION OF COLLAGE TECHNIQUES FOCUSING ON EXAGERATION AND DYNAMISM OF FORM AND PERSPECTIVE. DEPICTING THE
NATURAL COLOURS OF THE LANDSCAPE
Linear perspective was rediscovered during the early 14th century by Filippo Brunelleschi. It is believed that before, the Romans and Greeks used linear perspective in their artwork, but no records have been found. After the 1420s, painters started experimenting with one-point perspective, which essentially means that the further away an object is, the smaller it appears, and the closer to the frame something is, the larger it appears. In contrast, in the Orient, linear perspective hadn’t been discovered yet, as the Chinese and Japanese empires were isolated from the rest of the world. Oriental artists used spatial depth by employing planar perspective. This technique divides the frame into three different horizontal lines: the foreground, the middle plane, and the background.
WESTERN PERSPECTIVE ORIENTAL PERSPECTIVE
In the western composition elements follow the focal point and perspective lines, where the importance is not only placed in the foreground but it could be also in the middle or background.
In oriental composition the main elements were placed in the foreground, and the remaining elemnts where in the middle gtound and background. The images did not follow the traditional perspective composition like in the west, but they were more flat.
The Healing of the Cripple and Raising of Tabitha by Masolino 1426–1427 namban byobu by Kano Naizen around 1600
Perspective drawing by Maruyama Okyo
Delivery of the Keys by Perugino 1481-1482
A diagram of the camera obscura devices from 1772
Floating pictures (uki-e)
Mirror inside Lens Grid at the top to let in light
Peeping machines
Peeping machines Hokusai
Devices used by children
A real camera obscura box from the 17th century
Drawing exploring movement, the most congested locations on the site and framing of the orientations of the 36 views.
The given site was the British museum and the chosen location for me was the Great Court, as it was the part fo the museum with the most amount of movement and acitivities.
PERSPECTIVES
Hokus-Eye v2
Prototype 2 was to experiment on the field of view and how wide the device could be. This particular model was too wide and did not allow me to view the sides so in the following model I had to shorten the field of view.
Hokus-Eye v3
Prototype 3 worked out the best field of view and dimensions of the device It was done with mountboard and not cut with precision because it was exprimental.
Prototype 4, refined on the work of the previous device by adding and exprimenting with better materials such as wood, and cut with more precision Also the interior of the device was being worked out and the placement of the mirrors.
Prototype 5, is the final version of the device made out of 3mm plywood laser cut into pieces. The exterior of the deice is painted with a pattern that represents the work of Hokusai, and the interior has multiple mirrors directed in 30 and 45 degres reflecting its surroundings.
Hokus-Eye v5
Hokus-Eye v4
Elevation view of the mirrors
The Hokus-Eye side view 1
The Hokus-Eye side view 2
Light coming inside the gaps
Light coming inside the
Phone to take pictiures of the compositions Mirrors at the bottom
Light coming inside the
Light coming inside the gaps
Light coming inside the gaps
Mirrors
Mirrors
Headwear
PEPPERPOT HOUSE
The pepperpot is the national dish of Guyana . It is a stewd meat dish flavoured with Cassareep (a sauce made from the cassava root) and other basic ingredients. It is a dish often served during Christmas and special occasions as it requires several hours to cook.
The proposed design features multiple spaces, including a museum showcasing a collection of traditional indigenous cooking utensils from Guyana. It also includes a kitchen where visitors can actively engage and learn the cooking process of the pepperpot. Furthermore, there is a greenhouse dedicated to growing some of the ingredients needed for the dish. Lastly, a central eating space is provided where users can savor and enjoy their cooked pepperpot dish, conveniently located at the heart of all these interconnected spaces.
The design aims to create a central space in London that serves as a cultural hub for the Guyanese community. Its primary purpose is to exhibit and celebrate Guyanese culture, providing a platform for sharing and preserving their heritage. In addition, the space can help to engage the and educate the younger generations in the Guyanese community, enabling them to deepen their understanding and appreciation for their own culture.
98% of world production
Grown locally in
Biggest
Australia
India
Argentina
x3/4 Thyme
x3/4 Cinnamon sticks 2 Habanero peppers
3/4 Wiri wiri peppers
Chilli peppers
x3 Cloves
1/2 cup of Cassareep
3/4 lbs of Beef cubes
lbs of chopped cow foot
Guyana
Cassaba root
1/2 Orange peel 1/2tsp Salt
Black pepper
Onion
Grated Ginger
PROCESS OF MAKING CASSAVA BREAD AND TRADITIONAL UTENSILS
The cassava bread is another popular item in the Guyanese cousine, and it is often consumed along the pepperpot.
A fireside is an indigenous stove that is made with clay, mud and even cow dump. It has a whole in the middle where wood and coconut shells are placed to lit a fire. It is placed outside in a sheltered space near the house as it uses real fire.
This is usually larger than regular pans, and it is plaed on top of the fireside or tower to cook meals. It is often used cook large dishes fro multiple people, such as rice and curry or biryani
A traditional knife is used to srape and peal the cassava roots after they are collected form the farms.
A cassava grater is used to grate the cassava once it has been scraped and cleaned.
An utensil used to make cassava bread. The grate cassava roots are placed inside this untensil, which is then hung on a ceiling with a trunk that goes through the lower hole of the utensil. A person the seats on that balk connceted to the mattapi to further compress the grated the grated cassava inside to release its liquids and water and dry it out as much as possible.
A bamboo table can be used for various purposes, but while making the cassava bread, it is used to place the dried cassava extracted from the mattapi to here to leave it and dry it more. Often, a fire can be lit under the table to further dry the cassava.
A sieve is used to grate the cassava after it has been dried witht he mattapi and placed to rest in a bamboo table. This is because the extracted cassava from the mattapi takes the form of the mattapi itself, and a sieve is used to get rid off the larger pieces of the grated cassava and make it into grain.
A normal brush is used to clean the cassava roots once they have been scraped.
1. Bring cassava from the farm
2. Scrap the skin off from the cassava
3. Wash the cassava
5. Grate the cassava
6. Put cassava in the matapi
7. Extract the cassava from the matapi and dry it in euroha (table)
8. Grate the cassava in a sieve
9. Put cassava in a pre heated tower (stove)
Cassava bread Cassava roots
4. Put cassaba in a wooden container (adisa)
Fireside
Knife
Cassava grater
Pot
Mattapi
Bamboo table
Sieve
Brush
The site is currently a car park situated east to the Lewisham Centre
I was imagining the proposal as an immersive journey and almost as a spiral, where you have different and separate spaces interconnected together, enabling the useres to immerse themselves within the Guyanese culture through vising each of these spaces.
Idea for the eating space
- Indigenous Guyanese tent
- Made with local woods and tree barks, leaves, branches, straws, vines and plam
- Used for indigenous events, celebrations, talks
- Inpiration for designing a eating space in my building
Benab
Jetavan by Saneem Padora Location: Materials Programme: A spiritual religous Buddhist temple
Idea for the kitchen
Idea for the eating space
Idea for the greenhouse/garden
Glass House By Sigurd Larsen Location: Germany Programme: Private
DEVELOPING FORMS STRUCTURE
Greenhouse Museum
Corridors Eating space
A: Eating spcae B: Museum
C: Kitchen D: Greenhouse
A: Eating spcae
B: Museum
C: Kitchen
D: Greenhouse
Eating space
In this drawing I was trying to capture the atmospheric qualities of the eating space in the proposal. I imagined a space in the form of a Benab (indigenous Guyanese structure), where people can experience and taste the national dish of Guyana, the Pepperpot.
Kitchen
In this drawing I was trying to capture the atmospheric qualities of the kitchen in the proposal. I imagined a space that can accomodate multiple people, so that the users can get involved in learnign the cooking of the pepperpot for then consume it in the eating area.
In this drawing was trying to capture the atmospheric qualities of the greenhouse in the proposal and its usage.
Greenhouse
YEAR 2 SEMESTER 1
GUYANESE COMMUNITY GARDEN
The Guyanese community garden is a project that focuses on traditional Guyanese cooking. From my initial research on Guyana, I found interest in the diversity of ethnic groups that live in Guyana as well as their different religious belief. However, one thing that brings all these diverse people together is the act of sharing food. This project explores the traditional cooking method of this country and how it brings together its people.
“One people, One nation, One destiny”
Irfaan Ali President of Guyana
CHICKEN BIRYANI
PEPPERPOT
KADHAI PANEER WITH BUTTER
Indeginous cooking style and utensils
Meat curry with rice and dal Chicken biryani
Parsad
Coconut buns Pepperpot Garlic pork
Herbs
Washing and boiling rice Preparing meat
Smoker used for herbs
Mixing the meat, rice, herbs and spices
Mattapi - Used to dry flour to make bread
Strabroek Market
Stabroek Market is the largest market of Georgetown, Guyana and it is the busiest area of the city
The local people call the market ‘town’
There are all kinds of shops and selleres in the market, ranging from food to clothing and technology
- The construction of the market was completed in 1881
- Designed by the American engineer Nathaniel Mckay and constructed by Edgemor Iron Complany of Delaware, USA.
Stabroek Market area
Selected site
Stabroek Market
Photos by Yancey
YEAR 1 SEMESTER 2
BRICKLANE RECYCLING CENTRE
The Brick Lane Recycling Centre is a project inspired by the site analysis of Brick Lane in East London, the flow of people in the area and the amount of recyclable waste in the streets. The project became a space where some of the waste found on the streets of Brick Lane, which included cardboard, coffee cups and plastic bottles, could be collected and reused on-site by giving them a new life.
BRICK LANE RECYCLING CENTRE
SITE ANALYSIS
What was the project about?
The project involved collecting trash around Brick Lane and turning it into items like lamps and furniture using plastic bottles and cardboard boxes.
Where was it located?
It was located in Brick Lane, East London.
PERFORMING ON SITE
What was the final response of the project?
The final decision for the project was to establish a recycling center in Brick Lane. This center will repurpose the old trash found in the area’s narrow streets and include a small shop where items like lamps made from plastic bottles and cardboard furniture can be sold.
YEAR 1 SEMESTER 1
THE WAVE OF PECKHAM
The Wave of Peckham is a group project where we were given the site of Peckham Square. Our brief was to collectively come up with an installation that would represent our research and interest. The installation ‘The wave of Peckham’ was inspired by the flow of people on this square, of coming in and out, which was represented thorugh a performance of opening and closing this giant concertina fold.
PECKHAM
What was the brief of the project?
The main brief was to create an installation that responds to our designated site, Peckham Square. The project’s goal was to encourage collaboration within the class, giving everyone a sense of how team projects work, with each individual assigned specific roles.
Where is it located?
Our site was located in Peckham Square.
What was out idea?
Our idea was to create an installation that reflected our research and interests in Peckham Square. As a team, we primarily observed the flow of people through the square, and the installation was designed to represent this observation.
PROCESS OF MAKING
Investigation of materials and their properties. We experimented with ideas through preliminary models before finalising the concept and creating the installation. We chose this specific material because it was waterproof and provided a reflective effect, which was ideal for our nighttime performance.
Sketch of prototype
PERFORMING ON SITE
What was the performance about?
The expansion and detraction of the obj3ect represented the flow of people and the enerhy of this square, which is constantly used by pedestrians or even families to pass by or seat around the area.
