Spatial Tales by Mauricio Salgado A

Spatial Tales would have not been possible to do without the guidance, the shared knowledge, and the patience of Luke Jones, Ella Doran, Tania L. Winkler and Reiko Yamazaki.

Originally from Mexico, I studied a Bachelor Degree in Architecture with a Minor in Contemporary Dance, at Universidad de las Americas Puebla (UDLAP). Before graduating in 2016, I got the chance to do an exchange year in RMIT University in Melbourne, inside the BA Interior Design programme. In 2017 I moved to Milan, Italy, where I attended a year-long Master in Interior Design at Istituto Marangoni. After graduating, I got the chance to work for three years, in an iItalian interior lighting design practice, where I achieved a greater awareness about how light plays an important role in creating effective environments. In addition I had the chance to work on projects that ranged from retail to hospitality. Besides that, I joined Prisma Project, a community of former Marangoni students who are directly invited to collaborate with Italian furniture brands, where I got the chance to develop myself as product designer. The love for performative arts, aesthetics, space and construing emotions within the space led me to continue with higher education at the RCA, in order to enrich my academic background, and knowledge of the future of interior design.

This book is a compilation of SPATIAL TALES that have influenced my professional development as an interior architect. They reflect my identity and my sensibility towards arts, design and architecture. This stories also demonstrate my awareness of construing experiences that respond to the existing interior environment.

“Architecture is a art when one consciously or unconsciously creates aesthetic emotion in the atmosphere and when this environment produces well being.

Luis Barragán

HEJDUK PRIMER PROJECT

the coin flipper

INDEX INDEX

INSERRTION IN EASTBOURNE

the corner

30 INTERVENTION IN COAL DROP YARD

the well gallery

INSTALLATION IN GREYCOAT SCHOOL

the sweet temptation

01 the coin flipper PRIMER - JOHN HEJDUK MASQUE project led by Tania L Winkler & Jee Liu

The Coin Flipper is a colorful scenographic installation, understood as an abstract deconstruction of “The Court House“, Hejduk’s original drawing from the Lancaster/ Hanover Masque. It aims at translating the Court sentence into the self-judgement the subject positioned underneath is dealing with, while experiencing a sense of tightness between the weight above and its reflection below.

John Hejduk. Court House, Lancaster/Hanover Masque, 1980-1982.

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Reinforced concrete—steel clad. Wood stepped seating around a central platform where the Accused is placed facing (on a direct line and at the same level as) the designated Judge. The Court House is connected by a bridge to the enclosed Prison House. He is enclosed in a movable container. The container rises and falls along a vertical track (like an elevator) suspended on the outside of the Court House structure. The suspended unit clamps in (locks) at a singular destination when it is exactly aligned with an interior opening (of the same height and width). The Judge is only seen once by the Accused. This is when the Judge reads the sentence. The Judge’s back faces the exterior court. All Farm People are considered witnesses. They serve simultaneously (a dual role) as witnesses and jurors. John Hejduk. Court House, Lancaster/Hanover Masque, 1980-1982. DR1988:0291:033. John Hejduk fonds, CCA Collection.

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| PR I ME R - J OH N H E J D U K L ON D ON M A S QU E

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02 the well gallery INTERVENTION IN COAL DROP YARD project led by Luke Jones

The Well Gallery, is a project that explores the strategy of “intervention”, through adapting a new gallery inside a space in the existing site of Coal Drops Yard, and respecting the context of it, and the history of the site. This project gave us the opportunity to explore the strategy of ‘intervention’, paired with the interior design platforms of Interior Detail and Interior Matter. Resulting into an awareness of how materials and detail are the elements that are going to direct the whole process of design.

The well gallery mainly will show three pieces of Marina Abramovich, but also could become a flexible space that can display other work from contemporary artists and performative artists. 1 Rest Energy - 1980 2 The Artist is Present - 2010 3 Imponderabilia -1970

2 3

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The intervention mainly focuses on creating a well starting from the pedestrian walk on top of the gallery and ending in the basement floor, aiming at the same time to evoke the pedestrian’s curiosity to see what’s going on inside the gallery. The Well gallery, is a flexible gallery space that focuses on displaying three important performances of Marina Abramovich; The artist is Present, Rest Energy and Imponderabilia. At the same time, the whole space could be use in another ways to exhibit artworks, sculptures or performances from other artists.

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SECTION - GF

SECTION - BASEMENT

PLAN - GF

PLAN - BASEMENT

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| MATERIAL PALETTE

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| VIEW FROM GRAN UNION CANAL

| VIEW FROM COAL DROP YARDS

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| ACCESS FROM COAL DROP YARDS

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| ACCESS TO THE GALLERY |

| IMPONDERABILIA - MARINA ABRAMOVICH

|THE SENSORIAL JOURNEY TOWARDS THE BASEMENT

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| THE ATMOSPHERE CREATED BY LIGHT & MATERIALITY

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| REST ENERGY - MARINA ABRAMOVICH

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| THE ARTIST IS PRESENT - MARINA ABRAMOVICH

03 the corner INSERTION IN EASTBOURNE project led by Ella Doran

The Corner, is a project that explores the strategy of “insertion”, through adapting a “nonterior” kiosk outside the Beacon Shopping Centre, in Eastbourne; and respecting the immediate context of it, the history of the town and the interaction with the habitants of the city. Mainly was proposed as a gathering intersection where the young meets the old, by the use of music, dance and urban performative art. Helping by adding some temporarily furniture to the public space in order to bring back spaces that could be flexible and adaptable to the main commercial road.

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F SH

EASTBOURNE TERM

INUS

ROA

GILDREDGE ROAD | IN S E R T ION IN EA S T BOU R N E

a journey through history | urban context | social gathering

| BALLROOMS - ELDERLY - THE PIER The insertion mainly focuses on creating a space that could bring the old classical ballrooms from the past of Eastbourne, the colours of the Pier and the tradition of the town, into a contemporary design. By the use of the textures found in the typical walls and floors from Eastbourne, a designed pattern was going to become the evocative landmark perfect for gathering,, used as a meeting point that could shelter urban artists as well.

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the shape

colourful | modular | nonterior

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The pattern used for the non-kiosk was created from the excercise of making a collection of 100 photographs from an object(s) that kept our attention from Eastbourne. The different joints from walls and paviments from Eastbourne were the starting point to play around with zooms of this photos, in order to create the final texture that was going to be applied into the non-kiosk. In addition, I also try to include vintage propaganda from the traditional shops of the town.

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the pattern

playful | floor-walls | propaganda

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| MATERIAL PALETTE

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MATERIAL APPLIED TO THE NON-KIOSK

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“... a sunny day in Eastbourne“ The Beacbox by Phoebe Mendel (on the right image, next to The Corner)

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04 the sweet puff temptation INSTALLATION IN THE GREYCOAT SCHOOL project led by Tania L Winkler

The aim of this project is explore the strategy of ‘installation” with the goal of creating a room inside a room that display two objects; a giant minimal cake that has to be eaten and the Squash costume originally made by Erick Hawkins, reproduction by Anthea Hamilton in collab with LOEWE.

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...ready to be eaten in the installation.

A minimal giant cake 150cm x 150cm... The Squash costume by Erick Hawkins, reproduction by Anthea Hamilton & LOEWE.

the squash & the minimal giant cake objects to display

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evoking with the squash imperfection and the pinkfulness of the minimal cake