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james pockson

projects arranged chronologically (newest first) 07940188448

Choose from 17 stunning colours


Position Graphic Design Client MillaMia Sweden Brief Layout and production of catalogue (120pp) and other printed media for the label’s third collection.

NATURALLY SOFT MERINO YARN / tel 08450 17 74 74 or see website for stockists across the UK, USA and Australia

DATE 2010

POSITION Design Development CLIENT Alpines BRIEF Development of logo, posters, spectrum and projections for Alpines




DATE 2010

Hey Jimbo, You're a star. Kelly wants (preferably) the ďŹ rst image ďŹ lling the front of the card with website and signature layered on top. The information on the front then would be: Name (Kelly Paige), website ( and Signature (see bottom). The back would be clear with: Next Concert...............

next concert:

next concert:

10/3 0/11 venue:

Kelly's sending me the business card she used in Nashville, which has the same format. I'll forward it to you as soon as I get it as a reference point. I personally prefer the second image, but then the signature is in black so wouldn't come up on it. Hope this is doable,



aig p y ll e .k


m su ic .co

10/3 0/11 venue: management:

Position Graphic Design Client Nick Stewart and Associates Brief Business Cards for artist Kelly Paige

J xx

DATE 2011

ADS2 2010/11



Traditionally the first term is the period of research that is used to generate your MA thesis brief. This year we have decided to subvert the process so that you will be researching by designing. As an inversion of the normal year trajectory – of starting with broad themes and moving towards greater architectural detail – we will be making spatial propositions from the outset, because we strongly believe that understanding design decisions at a smaller scale will result in more radical, sophisticated and far-reaching urban strategies.

THE BIGGER SOCIETY? Will Hunter Guido Incerti Tom Teatum

In 2007, for the first time in human history, more people lived in cities than did not. Three years ago we reached the point where over 50 per cent of the world’s population lived in urban settlements – a massive increase from only three per cent in 1800. Our studio’s work starts from a position that, all over the world, cities will become larger, denser and more populous. However, our primary area of investigation is London, and how the future architecture of the capital will be shaped by forces far beyond its control. Nationally, the coalition government is seeking to redefine the relationship between the public and the private spheres: making cuts to public spending on a scale not seen since the 1920s, as it passes over greater responsibility to communities and individuals. But while the British state is anorexically shrinking itself, its capital city is increasingly

corpulent, expanding ever outwards with the spectacle of the Olympic Games, the promise of Cross Rail, and a population increasingly stretching its green-belted girdle. Our studio believes that to meet the challenges of such conditions, we will have to evolve an urbanism of hybrid programmes – and an architecture of interfaces and thresholds, of renegotiated relationships between public and private, centre and periphery. Within this thematic structure, we will explore how people could – and should – relate to each other in this bigger, denser society; and how the city’s collisions and collusions will construct the intense intersections of a 21st century capital city.


The first term’s main project will be to design a ‘City in a Building’ – an abstract project without a context (think Archigram and Cedric Price). Beginning with a two-week study of precedents, you will be asked to pick four examples, one from each of the following: dwelling type; institution; programme; public space. Your choices should reflect your areas of interest – like dinner party guests, your selection should present the opportunity for an interesting conversation, without necessarily striking accord. Alongside making scaled drawings of your precedents, you will be asked to articulate a critical understanding of why each type was created as it was. What social, political, cultural and economic forces shaped their making? How does their tectonic express their particular attitude? Are they fit for today’s needs? While second years are encouraged to pick a housing type, if they have a stronger idea about their direction they will be free to pursue it through the other three categories. From this understanding of the past you will be asked to make a leap into the future. The second, four-week stage of the project is to design your ‘City in a Building’. Using

Sir Peter Cook’s proposal for a tower in Swiss Cottage, shown at the Royal Academy Summer Show 2010

your precedents a operations, your p should look to the conditions to que building types sh reconfigured or re Designing in a single entity w consideration of t different types of conditions betwee and the relationsh and exterior. By c interfaces you hav to construct new s opportunities wit In essence writing your brief it. For the final cri asked to show an two plans (all at e and a 500-word p establishes your i The drawings sho elaborated, person demonstrate a clo your architectura visual rhetoric.


The definition of t has been a shiftin centuries, but tod to label King’s Cr London – or perh continent, as it is Europe to which t reach within a tw only does it conne networks, but to P Olympic Site. Movemen feature of the mod the oldest means

as a scale for your proposition e present-day estion how these hould be reinterpreted, esized. g all four programmes will require careful the interface between use; the threshold en public and private; hip between interior choreographing these ve the opportunity spatial and social thin the city. e instead of merely f, you’ll be drawing it you will only be n indicative section and either 1:100 or 1:50), piece of writing that intellectual position. ould be worked, nalised pieces that ose connection between al ambitions and your


the centre of London ng target over the day it is perhaps fairest ross the true centre of haps even of the whole the single node in the most people can wo-hour period. Not ect to the tube and bus Paris, and now also the


POSITION Graphic Design / Layout CLIENT Royal College of Art

BRIEF Produce initial hand-outs for MA architecture studio ADS2 walking has historically had primacy as an experience, from the ancient world’s contemplative meanderings to the Situationists’ politically-motivated derive. And yet today’s London – longacquainted with infrastructure – is further collapsing the sense of centre and periphery with the introduction ultra-high speed train travel. (‘Kings Cross to Stratford in just six minutes!’ as Mayor Boris Johnson tweeted earlier this year). Instead of prospecting for a site, we are interested in using the idea of the ‘City as a Journey’ as a process to help place the project in its urban context. For the final project we will be using King’s Cross as the starting point for a mapping exercise to construct your own personal journeys within the capital. You should be pedestrian, flaneur, commuter, or adventurer – the only locus operandi is that the journey must be within 15 minutes of the starting point: on foot, tube, train, bike, or any other means. While ultimately your site could be one of the two largest development opportunities in London – King’s Cross by Argent, or the Olympic Park in Stratford – it could also be anywhere else within the timeframe, spreading out in any direction – north, south, east or west. The aim of the project is to understand the city as a dynamic (rather than a static) construct, and to enable you to place your ‘City in a Building’ into a context that is layered, shifting, and complex.

nt is an essential dern metropolis. As of getting around

TERM TWO While in Term One you should have identified your areas of interest, made bold designs, articulated a clear argument, and identified a site, in Term Two you will be integrating these strands into a larger, urban strategy. We will be asking: how is your abstract proposal adjusted to its context? And how, in turn, does it transform the real world?


As the teaching structure becomes looser, there will only be one set requirement for this term: a 1:50 sectional model of your proposals transposed into and modified for your chosen site, which will form the basis of the interim show presentation and for which you will be encouraged to work with the different RCA departments. The sectional models should further explore the project’s spatial relationships – particularly the three conditions of underground, groundplane, and building. They can describe what the spaces might look and feel like; what their tectonic language might be; whether they are light or dark, expansive or intimate – and how you move between these environments, the volume and circulation.


Will is currently the Deputy Editor of The Architectural Review. Previously he has edited BD Magazine, the monthly supplement to Building Design, and AJ Specification, the sister title to The Architects’ Journal. Will studied architecture in London, graduating from the Bartlett in 2002 and the Royal College of Art in 2005, and worked in practice for Will Alsop.


Having worked with Diller Scofidio + Renfro in New York, Guido founded his own practice in Florence called nEmoGruppo Architetti, which was selected to exhibit at the national pavilion at the Expo 2010 Shangai. Guido took a PhD from the University of Florence, writing his thesis on the links between psychology, the body and architecture. He co-wrote the DS+R monograph.


Following a period at Richard Rogers Partnership, Tom worked with FAT from 19931998 where he became a director. In 2002 he founded Popularchitecture, an award-winning London-based practice. He is currently involved in a masterplan for Shepherds Bush Green, a new-build concrete house in the Isle of Wight and bespoke offices in London.

SuperTower proposal by Tom’s practice Popularchitecture, 2010


Pen-and-ink drawing of an evening in Soho, by Neal Fox, 2010

During this term we would like to host a number of workshops which should help you develop both the masterplan and the sectional model. While the former will allow you to take a position on the project’s organisational relationships, the latter should visualise the edge conditions as threedimensional spatial experiences. The aim of ADS 2 isn’t to stipulate an architectural language, but to offer a methodology – one that will help you define who you want to be as a designer and what you want your architecture to be about.

DATE 2010

the mourning laughter 20th Jan Akira Records, The Silver Bullet, Finsbury Park 01st Feb Bugbear, The Dublin Castle, Camden 25th Feb The Monto, 229 Great Portland Street

facebook search: The Mourning Laughter

Position Visual Direction / Graphic Design Client The Mourning Laughter Brief (on-going project) Working with the band to create cohesive visual direction accross all media. This project is in its very early stages. Working on logo options and other media with the band with the band, including flyers, posters and website Themes of American landscape consistently reocurring in converstation hence references to rail road, praries. Making reference to the colours and strong perspectives seen in the work of Ed Ruscha ( far left)

DATE 2010

Year Three Studio One: A New Civic (private view)

Publicity campaign

Year Two: Books


PosItIoN Head of Design and Curation CLIeNt Arcsoc University of Cambridge Location Shorditch Town Hall Basement Brief To oversee the deisgn, curation and realisation of a degree show for University of Cambridge Department of Architecture This project involved the design, curation and production of a show of 200 students’ work that had to be prepared in Cambridge and transported to east london on an extremely tight budget.

DATE 2010

Position design/construction Client Two Wheels Too Many LOCATION The Shop, Jesus Lane, Cambridge Brief Design and build scale velodrome for centre piece in bike exhibition. Create logo

DATE 2010

1. deciding on the order that the images would appear 2. velcro was attached to the pin board using small tacks - this allowed for the exhibition to be demounted with ease 3. a template on a stick was used to ensure that the velcro was at the same height each time 4. the boards were then stuck on 5. a complete wall 6. the whole process took about three hours to complete 7. the template used for the velcro (245mm x 380mm) 8. all the board were laid out to check the ow of images before mounting began









plan of exhibition space :

laid out in a spiralling sequence





CLIENT Royal Academy of Arts University of Cambridge LOCATION University of Cambridge BRIEF Re-curate the Paper Cities: Urban Utopias exhibition in Cambridge University. This project involved the re-curation of an exhibition of drawings shown at the Royal Academy of Arts Originally published on a monthly basis on the last page of Blueprint magazine, each drawing is a meditation on the city by a different artist, architect or designer. The exhibtion was reconfigured in a linear format, inkeeping with the Modernist style of the gallery space. Originally designed by Bibliotheque, the drawings were not framed, but instead hung as vetical pads allowing the viewer to rip of drawings they liked to create their own exhibition catalogue.

DATE 2010

Magdalene Mayball

Position Head of Design Client Magdalene College Cambridge Location Magdalene College Cambridge Brief To design and create the entire aesthetic of Magdalene College May Ball 2009.

Working in a team of only 4 and and with a very small budget, incredible results were achieved with the ball eventually featured on Time Magazine’s Website. The logo and general aesthetic were derived from rigorous research into the college’s history.

DATE 2009

Graphic Design Portfolio  

Work in graphic design

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