Wonn Magazine 16 - Megan Welton

WONN STYLE WITHIN ARCHITECTURE AND THE ENVIRONMENT 1

1. MODERN VS OLD

2. ARCHIT 3. LOCAL AREA

5. URBAN

6. CIT

O C NT E CON

7. GOTHIC

8. REBEL 2

TECTURE

4. BUSKING

ENVIRONMENT

TY OF LONDON

T ENTS RURAL 3

MODERN VS LD

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AIT R TU C ER HCE 6

A M RK T E

A critical issue facing decision makers and conservation professionals is accommodating change to heritage places and adding new layers to the historic urban environment in ways that recognize, interpret, sustain their heritage values.

Over the last decade, a vigorous debate has ensued regarding the appropriateness of contemporary architectural insertions into historic urban areas. This debate has polarized sectors of the architectural community, pitting conservationists against planners and developers.

It has positioned conservationists as antidevelopment and antiprogress, responsible for stifling the creativity of a new generation of architects and their right to contemporary architectural expression.

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Design professionals differentiate between taste and design quality. Taste is subjective, while quality is measurable. Prescriptive planning tools such as height restrictions, envelope limitations, and requirements to use certain materials all attempt to provide qualitative design measures. In many places, it is only when a historic building or area is involved that issues of design, quality and

processes through development or impact assessment. Clearly there is a need to provide guidance or establish well-understood standards to assess new development occurring within treasured streetscapes, neighborhoods, or historic landscapes, in order to meet the three Cs. Given that the debate is now occurring at a global scale, such standards need to achieve some level of consensus at an international level.

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bus ing CITY

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U BA R 14

BAN

ENV IRON MENT

There are varying views on what constitutes appropriate new development within a historic context. Some argue that new insertions to the fabric of the historic urban environment should be in the style of the old.

Historically, traditional settlements and cities like Ait Ben Haddou in Morocco or Zanzibar’s stone town have demonstrated a continuum of building traditions that

exemplifies this approach. In the pre-modern era, redevelopment in commercial city centers, such as London’s Regent Street, followed a Beaux Arts approach, with grand town planning and architectural gestures. With the advent of Modernism, large-scale reconstruction, which architecturally broke with traditional architectural and planning forms, changed the face of many

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cities in the twentieth century. In recent times, in reaction to modern interventions, some architects have chosen to continue to design buildings in a more historical style while nevertheless utilizing modern materials and technologies. Others abhor historicism and argue that each generation should represent its own time. New layers should represent the ideas, technology, materials,

CITY OF

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N OND O L 17

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ENVIRONMENTS URBAN

Design professionals differentiate between taste and design quality. Taste is subjective, while quality is measurable. Prescriptive planning tools such as height restrictions, envelope limitations, and requirements to use certain materials all attempt to provide qualitative design measures. In many places, it is only when a historic building or area is involved that issues of design quality and character are included in the planning process through development or impact assessment. Clearly there is a need to provide guidance or establish well understood standards to assess new development occurring within treasured streetscapes. neighborhoods, or historic landscapes.

Conservation is a balance between preserving the special character, quality, and significance of the historic place and facilitating change in a way that sustains it into the future. Inevitably every decision and subsequent action is of its own time.

The role of the conservation practitioner is to ensure that today’s decisions do not do irreparable damage. Successful designers recognize that working within the historic context is not a constraint but an opportunity where the whole can be greater than the sum of the parts, and where a contemporary building can add a rich new layer and play a role in creating the heritage of the future.

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G OT HI 20

G T IC

LOOKING INTO ARCHITECTURE FROM A GOTHIC PERIOD, CAPTURING MOMENTS USING THE INTERIOR AS THE FOCUSING ENVIRONMENT IN A RURAL LOCATION.

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An important starting point is the premise that the place has been identified by present and past generations to be important enough to warrant protection and be subject to the prevailing laws, regulations, and policies to secure its conservation and to manage change in such a way that its significance is conserved.

The responsibility of designers is to ensure that their work contributes to and enriches rather than diminishes the built environment. Conservation principles can often lead to heightened levels of creativity. Many architects, initially frustrated by the seeming interference of the conservation practitioner, in the end will agree that the outcome has been enhanced through a rigorous, wellarticulated process.

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Conservation is a balance between preserving the special character, quality, and significance of the historic place and facilitating change in a way that sustains it into the future. Inevitably every decision and subsequent action is of its own time.

The role of the conservation practitioner is to ensure that today’s decisions do not do irreparable damage.

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m title: megan welton

egan

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W

W

elton ...illustration review

ARTIST STATEMENT:

MEDIUMS:

In love with the creative world after discovering drawing as her passion, Megan Welton Is currently located in Cambridge studying graphic design at Cambridge Regional College- striving to become an illustrator.

The traditional mediums are practiced within the use of mixing media together- this has heightened her creativity and communicated messages on a larger scale through her imagery.

Her portfolio is built up of a range of drawings and media including children's illustrations and pets/people portraiture.

The works combine both traditional and on traditional techniques; Megan tends to focus upon unique qualities about her subject, incorporating different medium and materials together. Megan finds that this allows a narrative to form with her work.

Although the illustrations hold a subtle romantic atmosphere they also contain a truthful feeling. Megan likes to create mystery in her work.

Megan uses a range of canvases including maps, envelopes and tickets to show her subject’s story. Megan likes to work in charcoal alongiside chalk, ink and colour pencils; with this she uses fabric, glass and stitching.

The photographs and etching giving it a realistic quality both visually and in context.

The main inspiration for Megan’s work includes personal events, culture, nature and mythology.

ARTIST’S RESPONSE:

ARTIST’S REPSONSE:

I feel that the use of mixed media has transformed my perspective on illustration; it gives depth within it’s atmosphere, creates meaning I couldn’t achieve with pen and paper. Through taking on this new mindset, I have started to push the boundaries of illustration.

I would say that my work is mainly made up of journeys which allows my illustrations to become personal and hold honesty in the story that they are depicting.

“I Like to capture the spirit of spirit the subject in order to “I Like to capture the of the subject in order to the life lived or portray portray the life livedthe or event they are going through.” the event they are going through.”

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