Lani Campbell - Journal 2

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contents

3.0 concept development spaces surrounding the topic of waste adjacencies zoning video spacial prompt questions user personnas playing with shapes waste of age exhibtion semester two intentions 4.0 design development spacial zoning video original structure sketchup model spacial zoning residency eatery exhibition space maker space retail space gardens model

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concept development 3.0

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spaces surrounding the topic of waste

I am now thinking of my ideas in a spatial format and imagining what could happen in them. During this, I came up with creating a waste recipe book containing material, food byproducts, zero waste recipes, and interviews and case studies. I outlined my five main zones, research ateliers, workshops, gardens, retail and visual learning points (I later realised I also wanted a cafe).

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adjacencies

In this diagram I explored how my spaces could be connected by picking out keywords from each.

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I then started outlining ideas of what would happen in each space.

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zoning

Progressing forward, I made a zoning model with card, wood, and felt.

This aided me in seeing how much space I wanted to allocate to each area of my concept.

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Next I created a a short video in preparation for the wip show to show my site and the sounds that surround it and the movement that could be created through out it. Make sure to watch it with sound on.

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spacial prompt questions what happens in the space? who is the space for? expected outcomes from visiting/using the space (relevance) key needs inspirations

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design residency Who is the space is for?

Researchers and students – aim to have residency programme. Residencies will explore particular bio-materials development, waste/sustainability research, community projects and more.

What happens in the space? Expected outcome from visiting/using space (why/relevance/outcome).

People will take part in contributing to a more sustainable future through experimentation and production of materials and products. Similar to studio spaces – with desks and individual work area. Open plan but flexible with screens that can be moved around to supply privacy and change lighting levels. Max 15 people registered at a time. I would like the spaces to work to enable concentration and experimentation while also being open to the public to see in and potentially ask questions or find out what people are working on - > Aim to have someway of providing access for people to see into the space – do this discretely where there is a viewing. Something to see that there is activity in the space.

Key needs: individual work spaces, sinks, ovens, drying racks, light and dark spaces (alternative creative lap type space) Inspirations: second home london office by Selgasno dental mechanics workshop by Estudio Nu

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workshops Who is he space is for?

The workshops are spaces for people of all ages to me learn about how different forms waste and they can be recycled with a focus on community access and education.

What happens in the space? Expected outcome from visiting/using space (relevance/).

I intend on there being three workshop spaces. One will be a lab type space with sinks (hands on space) and worktops for activities such as waste-less cooking and more hands-on activities.

Potential activities: - cooking with food waste - minimal waste cooking - creating objects out of food by-products It would be a separate a section, some privacy from the main space.

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The second space will be linked to one of the gardens; it will consist of sitting and learning promoting garden-based activities. The last will be a large table to sit around and interact with people of common interest through activities.

Potential activities: - planting by-product veggie seeds and pips - vegetable seasons Key needs: sinks, work surfaces, child friendly seating areas, plant beds Inspirations: Barilla Pavillion by Set Architects Eleanor Palmer Science Lab by AY Architects

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gardens Who is the space for?

Anyone interested in sustainability and waste.

What happens in the space? Expected outcome from visiting/using space (relevance).

There will be multiple gardens, some small and some extensive, inside, outside, and in-between. The smaller patches will be specific plant-focused with context surrounding it and plotted around the space, such as a Coffea Arabica plant accompanied by a coffee waste, coffee waste-based products. The aim is to bridge the gap between the source, the end product, and the waste produced in between. The largers gardens will house the workshops and learning paces.

Key needs: light, shade, shelter, ground depth

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Inspiration: Expo 2000 by Analog The Community Classroom by O’DonnellBrown Artist Studio by Mork-Ulnes

exhibition spaces Who is the space is for?

Anyone interested in sustainability and waste.

What happens in the space? Expected outcome from visiting/using space relevance).

Throughout the building there will be different learning points in different formats such as the history of the building and how concept is linked. Permanent and temporary exhibition spaces. Table display cases.

Key needs: wall and floor space, transitional spaces, display cases Inspiration: MKM Museum Küppersmühle extension by Herzog & de Meuron Garage Museum by Rem Koolhaas

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retail Who is the space is for?

Visitors and resident researchers and students.

What happens in the space? Expected outcome from visiting/using space (relevance).

The retail space will be filled with products enabling learning and promoting minimal waste at home. There will be books, homeware, toys, seeds, merchandise available for all ages that contain information and encouragement to try anything which helps the environment. It will give a chance for students and researchers to promote and sell their goods. It will be well-curated, fun, clever and design led and affordable and enable people to continue learning at home.

Key needs: shelving, tables, till Inpiration: Laughter shop by Sides Core

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cafe Who is the space is for?

Any visitors, resident researchers and students.

What happens in the space? Expected outcome from visiting/using space (relevance).

The cafe is a space to convene to eat locally sourced plant-based food and drink. It’s the heart of the building and somewhere to socialize and connect with other people. It will also create another form of revenue for the center and generate employment opportunities for the local community.

Key needs: seating, bar space, connection to the spaces in the building Inspiration: Colectivo Coffee Company by Fhhhfriends Atoll installation by Morag Myerscough

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user personas Phoebe Andrews Age: 23 Location: London, UK Occupation: MA student in Material Futures at Central St Martins Status: Single Description: Phoebe is currently a research resident at the center researching her masters; she explores packaging and how it can be changed to be more widely recycled and accessible. She has chosen to do her research in the center to interact with other people interested in similar topics so she can gain perspective on people’s views on packaging waste. Currently, she is exploring waste and by-products created when processing food for supermarkets and how said waste could be turned into packaging for said foods.

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Goals: To gain further knowledge in the field of circular design.

To develop a biomaterial made of a mass food production by-product.

Personality traits: Learning Creativity Pationate Ambitious Frustrations: Lack of education on recycling and waste.

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Dario Myers Age: 32 Location: Glasgow, Scotland.

Occupation: Chef and food truck owner.

Status: Single Description: Dario is a local chef; he is currently rebranding and creating new food combinations for his food truck business in the south side of Glasgow. Conscious about waste, he is curious to learn how to minimize food waste when cooking his dishes in an affordable way and the best options for their packaging.

Goals: To contribute to making his community more eco-friendly.

To learn about he can make better sustainable choices.

Personality traits: Extrovert Communication Passionate Solution-orientated Frustrations: To eliminate as much waste as possible.

Lack of accessibility to affordable eco-friendly food packaging.

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Lucie McCloud Age: 9 Location: Denistoun, Glasgow, Scotland Occupation: Student Description: Lucie is currently in primary school, she enjoys drawing, learning about plants and nature. Her favourite things to do are going to the park and gardening in her grandfather’s allotment.

Goals: - To learn about what seasons to grow vegetables in.

- To make friends with common interests.

Personality traits: Curious Motivated Adventurous Inventive

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Josephine Klein Age: 28 Location: Edinburgh, Glasgow Occupation: Art teacher Status: Married Description: Josephine is a secondary school teacher and mother of two young children. She is interested in learning how she can incorporate more sustainable practices into her practice as well as bringing her classes to the center on school trips. She values teaching children at a young age about creating a more sustainable future to promote a healthier future for Earth.

Goals: - To learn more about waste and how it can be recycled.

- To have school trips to the center.

Personality traits: Explorative Complex-thinker Sharing

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Rupert Harris Age: 46 Location: Kelvindale, Glasgow Occupation: Engineer Status: Married Description: Rupert knows nothing about sustainability, recycling, or waste. While at work in a passing conversation, a colleague of his mentioned the space and was curious to come and see.

Goals: To learn waste and its role in sustainabilty.

Personality traits: Observant Frustrations: Frustated about being clueless.

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playing with shapes

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Playing around with translating the shapes from my model into site phoptos

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exhibition waste age: what can design do? (Design Museum, London)

“Waste Age’ ingeniously encapsulates how design can help tackle the critical problem of waste. Visitors can expect to see a wide range of innovations from visionary designers all with a common goal, to help us rethink our relationship with everyday objects – from fashion to food, electronics to construction, and even packaging. Its curators were also being environmentally conscious throughout the design process of the show. The exhibition itself was put together with a more circular approach to manufacturing in mind. Plinths have been reused from previous installations, and the internal architecture was constructed from biodegradable materials, which the museum aims to use in future shows. The exhibition begins in the museum’s atrium, with a large-scale installation from Mamou-Mani Architects and the Dassault Systèmes Design Studio. The Aurora installation signals the end of the take-make-waste era, according to its designers. It is made of polylactic acid (PLA) plastics and wood pulp, and shows how new building materials might be conceived. Moving into the main exhibition space, ‘Waste Age’ is split into three distinct sections. The first, ‘Peak Waste’, confronts visitors with the sheer scale of global waste, and subtly discusses the “wholly inappropriate way the world uses plastic,” according to the exhibition’s curator Gemma Curtin. Objects seen here illustrate the benefits and disadvantages of plastic use. The exhibit shows that plastic is a great material for objects such as safety equipment, but not for lids and bottle caps. A display of bottle caps and lids collected from Cornish beaches over the course of one season by the Cornish Plastics Coalition cascades down a wall, strung together, to give a sense of scale.

The second section, ‘Precious Waste’ , offers an insight into how certain materials can be fruitfully reused in everyday products and how these might become part of the circular economy. Here, visitors will come across 3D-printed chairs made out of old fridges and a collection of outfits by designer Stella McCartney, whose circular approach to fashion design includes the development of plant-based alternatives to animal-derived materials and using waste or dead stock from her previous collections. The final section, ‘Post Waste’, showcases proposals for new circular methods of production. There is a focus on materials that can be created from the waste of our current food system, with exhibited projects showcasing new materials made from corn husk, algae, coconut, and rice. Among these is a green, couture gown covered in translucent sequins made entirely fr nom algae [...]

Closing the exhibition is an interactive installation by the Sony Design Centre Europe, which is aimed at showing how visitors can influence the environment. It depicts a dark woodland complete with wild deer, mushrooms and trees, and the installation animation moves and changes as visitors do.

Overall, ‘Waste Age’ offers a fascinating glimpse into the brave new world of design, and how it can help tackle the global problem of waste. The exhibition will certainly encourage visitors to think of a wide range of objects having many lives instead of things that have an end life and help them re-think their own relationship with dealing with waste.”

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I was attracted to this exhibition due to exhibiting designers and information relating to my project and the field of plant and food-based waste. I found that most of the exhibition was based around reusing existing plastics or their waste. This helped me to focus on the idea that I was I more interested in learning about new plastic alternatives derived from non polluting sources such as plant based waste. The “Precious Waste” section enabled me to see and learn about different design concepts created with non-plastic-based waste, leading me to confirm my design residency as a concept with potential clients. I discovered designers and companies working with new bio-wastes such as Malai leather made from coconut water waste and bio-materials made of sugar waste by Waste Lab. My favourite was the Totomoxtle veneer made from corn husk waste.

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My focus for January is to build my site in 3D on SketchUp and outline my zoning whilst doing background research into each area of my concept. Whilst also considering the past use of my building how it could influence my spatial planning and designs. I am also finishing my critical journal during this period, which has helped me develop my ideas and research for my concept.

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If I were to describe my space in two words, it would be waste and circularity. I want these two elements to reflect not only the brief and concept but also how you move throughout the space.

This led me to develop my zoning layout that reflects why I have selected specific areas in my concept. I have created a hypothetical movement and example to explain this: a vegetable or fruit is grown in the garden. It is then eaten in the eatery.

The by-product from the vegetable is then sent to the design residents in the residency. They then strip the waste and are left with fibre to develop a biomaterial. This process and material is then learned in the maker space and reproduced at a smaller scale. In the meantime, the bio-material has now been designed into a garment or accessory, which is then exhibited (along with the story of how it was made) in the exhibition and cinema space. This product is then sold in the retail space. When the product‘s life comes to an end, it can be buried again in the garden as it is solely plant-based. The diagram below explains this process in simpler terms.

CIRCULAR REBIRTH GROWTH AND CONSUMPTION NEW WASTE INNOVATION EDUCATION NEW USE END OF LIFE

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design development 4.0

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spacial zoning

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original structure sketchup model 33

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Initial sketch used to develop my zoing idea. At this phase I also started to brainstorm on how I could incorporate and not ignore the historic train line underneath my space. You can see this in blue and yellow.

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After creating my space in 3D it enabled me to visualise it a lot better and led me to start drafting design ideas (ground floor).

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First floor Initial ideas.

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residency

“Artist residencies have been around since the early 1900s when groups of artists came together away from distractions to collectively realise their ideas. They have risen increasingly in popularity ever since and there are now thousands of residences available to artists all over the world. They can range anywhere from a one night stay at the Ace Hotel to stays up to 12 months in many programs. Some residencies require full funding to be paid by the artist whilst other programs cover everything from travel to accommodation as well as offering generous stipends, equipment and studio spaces. There is often also a means for artists to apply for grants to cover any fees they will need to afford their residencies. Hopefully, you’re already thinking; Why haven’t I already applied for 43 artists residencies this week? Somebody is going to support me mentally and financially to do nothing but work on my practice? Sign me up!

If you have a project, exhibition, photobook or any other genius creative idea that you are burning to realise and think you would benefit from dedicated time in a dedicated space to do so, these are for you.

Visual artists in current society are more bombarded with messages and content than ever before, and arguably this is at a detriment to their own practice. We are attached to our screens and consume more information, at a faster rate, than ever before. Did you know that 49,380 photographs are uploaded to Instagram every minute? Every, single, minute… and that’s just Instagram. It’s not hard to believe that this may have fundamentally changed the way that we create and consume our work. This article explores how screens have affected the way that we write, and I am of no doubt that modern technology has comparably transformed the way that we make and consume photographs. An addiction to instant gratification in the form of likes and comments, a dopamine hit in the form of a little red heart. A throwaway creative mentality. So, what exactly does this have to do with artist residencies?

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A residency allows an artist to devote their entire time and energy in furthering their practice. This may or may not mean completing a new body of work, being exposed to group feedback on current work or in some cases, completing no work at all. Either way, be it research, production or abstinence, ultimately a residency allows for specifically focused time and energy on your practice.” By Urth Magazine

In our visually over-saturated lives, it’s more important than ever for artists to access artist residencies offering the space and time to focus solely on enriching their practice.

by Urth Magazine

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Updated answers to the spacial prompt questions.

Who is the space is for?

People partaking in the residency programs (designers, students, researchers).

What happens in the space? (expected outcome from using space, relevance).

The residency programmes will support artists and designers as they focus on a single creative project. It is a full-time, structured programme that provides residents with a space, innovative tools, and access to leaders in the fields of waste, sustainability, and design. The design residencies will explore particular bio-materials development, waste/sustainability research, community projects and more. The spaces will enable concentration and experimentation while also being open to the public to see from a distance. There will be individual sleeping quarters with beds and bathrooms in a separate private area and a shared food kitchen and living area to socialise.

key plan

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Pods I spent an extended period developing the area the residents sleep and work in. I wanted to create modern modular spaces, but the many columns stopped me from doing so. I was also trying to develop an idea on how to reflect/ mirror the train track below (see track solution in coming pages). After making a sketch model and drawing out different ideas (see video found through QR code), I concluded that I wasn‘t acknowledging the columns enough. I took a new approach and thought about my concept, waste and the circular economy.

This led me to create circular-shaped pods inspired by the shape of silo conversions, yurts and the circular economy.

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Residency sketch layout Below are the sketched plans for the area of the building I am turning into a design research residency. I have yet to decide at what point on the bottom facade of the ground floor you would access the space; this depends on an area I have yet to design in the next zone. On the ground floor, starting from the most western point, is the communal workshop, only accessible by the residents. It contains large work surfaces, ovens, kilns and sinks [...] to enable significant scale projects. This space also has a second floor accessible via a ramp that can store or dry the residents‘ creations. The majority of the space is filed with the residents‘ pods. The residents‘ pods are two-story work and sleep pods catered for one person.

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The main access point leads into their individual workspaces on the ground floor, comprising of counter space with sinks, moveable connecting desks and storage, and an internal stair or lift to access the sleeping quarters. A portion of the facade folds back and opens out onto the private indoor gardens space, which leads to the outdoor garden through a large swinging door. Upon going up the internal stairs or the lift, you can access the home studio.

The home studio comprises a shower room, kitchenette, casual seating area, open and closed storage and a modular bed. There is a second entrance here leading onto a gangway that circles back to the collective studio storage point or in the other direction to the communal living and cooking area comprising soft furnishings, a large kitchen, and a table to eat at collectively.

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I imagine my pods with modular fitted furniture and panelling hiding storage similar to these two images.

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Silo conversions have helped me visualise how circular spaces can be designed.

the moving meeting space, its meaning and contextual relevance.

The moving space is inspired by the carriages transporting cattle that used to pass under and stop at the bellgrove cattle market. It is placed on an elevated track that mirror the train track below. It starts in the residents quarters and extends out into the garden. It made for the residents to have meetings in and as a temporary exhibition space. I find it important for my designs to be contextually relevant to the past use of the building, this is one of my solutions. It is significant in that it shows the historical method in which goods entered and left the building. I like the fact that it is a light moving part placed in a heavy structure, its transiance helps to convery the fact that there are no closing boundaries in the space conveying the theme of circularity.

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eatery

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“One third of food grown globally is wasted, by reducing this, food availability will increase so that less needs to be grown overall to feed everyone. This will increase environmental and social sustainability.

Schemes such as ‘love food, hate waste’ (website) encourage people, businesses and governments to be less wasteful with food by helping people plan their meals better and sharing recipe ideas for leftovers.

Composting waste is also encouraged instead of putting it in the bin which reduces methane emissions from landfill. Packaging on food is also being reduced, reducing the amount of resources that are used. This also reduces the amount of waste that goes to landfill which is improving environmental sustainability.” By Hinchingbrooke School

“Waste is just a resource in the wrong hands; they just haven’t figured out what to do with it.”

Marie Cudennec Carlisle

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Updated answers to spacial prompt questions.

Who is the space is for?

Any visitor, resident researchers and designers and students.

What happens in the space? Expected outcome from visiting/using space (relevance).

The eatery is a space to convene to socialise and eat locally sourced plant-based food and drinks. It is somewhere to socialize and connect with other people and eat. It will run as a kitchen residency, meaning every six months a new team of people (chefs and restauranteurs) come in to showcase their menu. The essential criteria being that the menu has to relate in some way to the circularity of waste. It will create another form of revenue for the center and generate employment opportunities for the local community.

This provides a tangeable way in which to experience products created in the space in their raw form and as finished products.

key plan

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The eatery is located a the bottom of the original structure. One of the points I struggled with in designing was how to make the space enclosed without creating a large straight wall. The zone in which the eatery is located borders the outdoor garden resulting in the need for a weather tight separation to make the indoor eatery. Due to the trusses, I couldn‘t create a wall anywhere but below the beam held up by the columns in the middle part of the space. Building a wall made the space feel very cut off and isolated from the rest and didn‘t utilize the exciting structure very well. So I decided to take another approach and work on how I would like my space to look inside and then work back towards creating a fitting outer wall. I looked at hanging tables from the trusses, long feast like tables, and platforms to eat on.

My favourite was the bubble platforms that would contain tables and connect with ramps. I liked this idea as it also had a connection with the circular pods at the other end of the space in the design residency. Although I liked this concept, I was still unable to solve my wall problem. I started again from scratch and revisited creating a connection between both ends of the building. I then realized that I did not have to make a wall attached to the existing structure and could create a new design altogether. With this in mind, I revisited the residency area of my building and looked at the shapes I had used and how I could mirror them. I decided to mirror the meeting room carriage at a larger scale.

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The eatery is accessed through a doorway and up a small small ramp at the most eastern point of the structure. As you walk through a long hallway, you are met with low modular seating, leading to a facade at the end of the hallway.

If you turn back on yourself, there are the eatery toilets and pot wash/kitchen with a door to the outside to create easy access to the food supplies. If you head straight on through the space under the curved ceiling to your right, you will find the cafe counter; to your left, there is a window giving a view onto the prep kitchen. At the end of this passageway, the space opens up onto large tables and an elevated counter to eat on your right. You can walk further down the room and head down one of the two ramps or steps to the casual seating area and through the sliding doors to the outdoor sheltered deck. see portfolio for chosen layout

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I like the choice of materials in this space and the pop of colour the stools bring into it.

This bench resembles the bench I would like to design for along the hallway leading to my eatery. I like its simplicity, creative details and modular look.

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Image I am basing my louvre design on for the facade of the eatery.

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exhibition space “In order to reach as many people as possible, a museum today has to step out of its “comfort zone”, dismantle social barriers and obstacles and open itself up to a heterogeneous, multicultural audience. As exhibition makers we have to ask ourselves repeatedly how we can break down boundaries and make exhibitions as accessible to the public as possible. Every visitor should feel welcome. It is not just the experienced gaze that is to be catered to; all visitors, regardless of their individual backgrounds and prior knowledge should be able to gain an understanding of the space, the works and their narratives.” holzerkobler.com

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“ An exhibition is the result of your experiments, but the process is never-ending.

So an exhibition is not a conclusion.”

Chris Ofili

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Updated answers to spacial prompt questions.

Who is the space is for?

Anyone interested in sustainability and waste.

What happens in the space? Expected outcome from visiting/using space (relevance).

There are two parts to the gallery space. One is elevated within its own building; this space includes an open-plan gallery space for exhibitions and social events and a dark insulated room for projects and talks. Directly below this, behind the retail store, is the outdoor gallery space set below the garden level. These spaces are for the design residents and local and visiting artists/designers to come to an exhibit their waste/circular economy-related work.

key plan

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I want the exhibition space to be a shell with a simple but creative interior. I started by creating new shapes but soon realised I was making things too complicated and went back to the basic form of a shed. Inspired by the eatery building, I took the traditional house shape and broke it apart to create a fragmented version. This resulted in a partially floating deck hanging over the shrubs accessed via a ramp. I kept the space quite empty, so it is open to interpretation by the people exhibiting there. This took a while to design as I was thinking about complex ideas and eventually I realised the design could be really simple and effective at same time.

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maker space

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“Maker culture describes a worldwide movement of individuals using a mix of digital fabrication, open hardware, software hacking and traditional crafts to innovate for themselves, underpinned by an ethos of openness and skill sharing rather than commercial benefit [17]. There is a belief that individuals with the right skills can produce solutions that are better and cheaper than mass produced products—or at the very least, they can learn something and have fun while trying to do so.” Nick Taylor

“ The ‘maker movement’ leads to a new pedagogy - ‘Tinkquiry’ - Tinkering + Inquiry.”

Peter Skillen”

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Updated answers to spacial prompt questions.

Who is he space is for?

The workshops are spaces for people of all ages learn about how different forms of waste and how they can be recycled, with a focus on community access and education.

What happens in the space? Expected outcome from visiting/using space (relevance).

I intend on there being 3 fixed maker spaces. One will be a lab type space for activities such as waste-less cooking and more hands-on persutes.

Potential activities: -cooking with food waste -minimal waste cooking -creating objects out of food by-products -natural plant dye sessions Next door will be the kids version.

The last space will be linked with the gardens; it will consist of areas promoting garden-based activities. A chnace to interact with people of common interests.

Potential activities: -planting by-product veggie seeds and pips -learning about vegetable seasons

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My main inspiration for the maker space was the Great British Bake Off tent. I want to create a space that promotes learning whilst also being able to socialise and interact with one another. Instead of having singular tables, I decided to join everything up and make a large work island with stovetops and sinks behind and a „show stopper table“ at one end and at the other end more tables with seating. I also added a storage room with a kitchenette, shelves and a kiln. There is an accessible toilet and the kids‘ activity room through the hallway.

I was settled with this layout quite early on, I just spent time on how to fit it within a building.

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retail space

‘“Buy less, choose well, make it last.”

Vivienne Westwood, the fashion designer, made this powerful statement and showed that these three simple actions can change the way you shop, spend money, and live. A mindful shopper is a person who thinks carefully about what they buy. They consider the impact that the purchase has on their life before they buy the item. This might sound like a lot of effort to go through when shopping, but the more we think about what we buy, the more value we get from our money. Shopping becomes intentional, and you become more mindful about choices you make in life.’

Fern McGahey at The Gaggler

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“Every time you spend money, you are casting a vote for the type of world you want.”

Anna Lappe

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Who is the space is for?

Visitors and resident researchers and students.

What happens in the space? Expected outcome from visiting/using space (relevance).

The retail space will be filled with products enabling learning and promoting minimal waste at home. There will be books, homeware, toys, seeds, merchandise available for all ages that contain information and encouragement to try anything which helps contribute to learning.

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I wanted the retail space to be minimalist and allow the products on sale to stand out.

I designed low tables and modular blocks at accessible heights to showcase the items and shelving at the back and front of the store for more practical, bulk-stocked items.

My main inspiration is the counters found in Selfridges. To access the space, I designed two options, a ramp going down the side of the pace and a set of steps than run along the front of the room behind the floor to ceiling windows. At the rear of the space, there are the doors leading to a hidden storage room and the outdoor gallery space.

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gardens “One thing for us all to remember is that the health of the soil in our gardens is directly linked to the health of the edible crops we grow, and when we eat the food we grow at home, to our own health. When nutrients are lacking and soil is degraded, those nutrients will not be made available to us through the food we grow and eat. Simply put: healthy soil means healthy ecosystems, means healthy people.

But beyond this, the health of the soil, on a global and local scale, also has wider ramifications. Healthy soil with plenty of organic matter teems with beneficial soil life. It catches and stores water more effectively, and sequesters more carbon from the air — an important carbon sink. By keeping living roots in the soil, and living, photosynthesizing plants in active growth at all times, we catch and store more water, and sequester more carbon too.

A regenerative garden is a healthy and beautiful natural system, tailored and harnessed by us to meet our own needs and the needs of the wider world. Sun, water, soil, and plants in regenerative systems work holistically, providing us with what we need not just to survive, but to thrive. And crucially, they will not just do so for a short while, but perpetually over the years to come.”

Elisabeth Waddington

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“Earth provides enough to supply every man’s needs” Mahatma Gandhi

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Updated answers to spacial prompt questions.

Who is the space for?

Anyone interested in sustainability and waste.

What happens in the space? Expected outcome from visiting/using space (relevance).

The garden takes over the whole of the middle section of the building. You cross it without touching it by walking on low standing bridges set in patterns leading to the centre of the building, where there is a circukar trellis. It will showcase plants, fruits and vegetables that can be used in design, both as a whole and just their byproducts.

In the long run the goal is to expand the garden into the outdoors and allow it to fully sustain the eatery kitchen.

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I took inspiration from Robert Burley Marx’s swirly garden designs to create my garden layout (see the picture below of one of his drawings). My design is a meadow of multifaceted plants ranging from small shrubs like rosemary plants to walnut trees.

To navigate through the space, I have designed perforated corten steel pathways that sit a few centimetres above ground level. With time, the plants will grow through, intertwine, and give the effect that the path is floating. At the eastern end of the garden, one of the paths branches off into a ramp leading to an elevated viewpoint that connects back to the second entrance of the maker space, giving a view over into the design residency and the greenery in the process.

There is a circular wire trellis at the centre of the garden, where all the steel paths meet. It is enveloped in vines and leads north and south to the interior parts of the structure through covered sheltered pathways.

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model

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I took a while to decide what kind of model to create; after discussion, it was decided that it would be best to focus on a particular part of my building and build it at a large scale (1:50). I chose this would be part of my eatery building. As the walls are made of lots of slats, I searched for different ways to build the model than by hand as it would be too time-consuming. Laser cutting and 3D printing were my best option. I created the outer shell and modular pieces from mdf boards cut with the laser cutter. For the more intricate and curved details, I used the 3D printer.

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