The design created for the vintage fan collector, adds structure with the chance for the collector to adjust the space overtime. 

In relation to the brief, I have considered the needs of the collector and their items. The main needs of the collector, was having an area where renovation work can be carried out and display cabinets which are easily accessible, with also being secure and positioned away from direct sunlight. The wall dividers in the studio area give my client the option to open or close areas of the studio.

I had researched the Fan Bridge, in Merchant Square which gave me ideas for the moveable dividers within the space. I would have wanted to developed this further, looking deeper at the engineering of the bridge and seeing how I could reflect this in my own design. 

With the aftermath of Covid, work/living arrangements have become more common and many made it work no matter the space they were in. Combining both, especially for the self employed could be a workable solution to rising energy prices. 

The theme of the cube is stretched. I have used thin black foam and played around with different ways that it could be warped and twisted around within the cube. By also adding thinner cuttings of foam to the wall and attaching this to the main cutting, gives the impression that the main cutting is getting pushed/pulled around in every direction. 

1. YELLOW TRACE, OPPOSITES ATTRACT: ABOVE THE CLOUDS STORE BY PATTERN STUDIO.
https://www.yellowtrace.com.au/pattern-studio-above-the-clouds-surry-hills-sydney-
fashion-retail/

This image is for display ideas of my clients vintage fan collection. This method of display appears
very secure but still makes the items visible, however it is too small for the space. For my collector
i’d modify this, so that the display can be accessed from the back, also adding more draws in to
the front where the ‘work in progress’ hand held fans can be stored. (Right image – my own CAD
drawing showing how I would modify the display).

2. ARCH DAILY, FACTORESIDENSE / Keisuke Kawabe Architecture Office
https://www.archdaily.com/971221/factoresidense-keisuke-kawabe-architecture office/6181093a0b29820164b362fe-factoresidense-keisuke-kawabe-architecture-office-photo?next_project=no

This architecture office shows creative ways to combine living and working. The materials used
reflects the manufacturing and shipping area of NAGOYA, which this space is located.
The architects described how during renovation, each original partition wall that was demolished
revealed new flooring and wall textures, giving the space miniature partitioned areas.

3. DESIGN BOOM, THE MERCHANT SQUARE FOOTBRIDGE, PADDINGTON.
https://www.designboom.com/architecture/knight-architects-merchant-square-bridge-paddington-basin-london-09-30-2014/

Architects took inspiration from a traditional Japanese Fan to create this moveable footbridge, as
apart of a regeneration project in Paddington. The bridge enhances the area both practically and
visually. Movements of the bridge are smooth and seamless, even with the use of still beams,
connecting well to the original design inspiration.

The Cornelia Parker exhibition at Tate Britain features a healthy collection of the artists work, exploring the variety of materials that they have explored over their career. 

For the majority of the exhibition, the artist has used existing objects which have been deconstructed and destroyed, often taking on a 2d dimension. It intrigued me to see how some of Parkers work has turned into ‘accidental art’. The “WAR ROOM” by Cornelia Parker, (2015),(Installation), Tate Britain, (Viewed: 3.10.22) is an example of the creation of ‘accidental art’, where Parker has used the left over paper that would usually be disposed off from the manufacture of memorial poppies, draping these on surrounding walls and ceilings. For me this is interesting how the artist has thought out of the box to work with a waste product.

Although the exhibition seemed quite busy with work, I found the installations were particularly presented with a lot of consideration. On the installations, the use of a light fixture placed in the centre seemed to expand the presence of the work, creating a series of shadows on the surrounding walls.

The 1st installation within the exhibition is “THIRTY PIECES OF SILVER” by Cornelia Parker, (1988-89), (Installation), Tate Britain, (Viewed: 3.10.22). Although the installation was based on flattening objects, the personal trauma of Parkers own home getting demolished had also contributed to idea of flattening. I believe this piece reflects the idea that beings or objects can come from a variety of different paths but can ultimately all have the same fate. The way that the artist has suspended them to hover away from the ground, brings life back in to these flattened objects, with a few of the pieces swaying as visitors passed. 

The artist has an adventurous research process, often involving other participants to help elevate the work. “SAWN UP SAWN OFF SHOTGUN” by Cornelia Parker, (2015), (Installation), Tate Britain, (Viewed: 3.10.22) is an example of this, where the gun had firstly been sawn off by criminals, then sawn up by police before being handed over to the artist. As Parker has mentioned the back story behind this, I believe that she sees herself as the final participant to finish off the work. The design process is similar in the aspect of collaborating with others to help contribute or streamline a design.

To introduce ourselves to fellow students on the Interior Design Grad Dip course, we were given the task to create our own wearable model based on a space or structure that inspires us. The Arctic Cathedral in Tromso, Norway, is a structure that I have visited twice before. Located in the Tromsdalen valley, the cathedral was built in 1965, designed by architect Jan Inge Hovig.

Having been built on the east side of Tromso, I was fascinated how the cathedral seamlessly blends into the surrounding residential landscape and how successful the design is in reflecting the arctic environment of this city. The lighting has also been specifically placed within the interior of the Cathedral so that it reflects through the exterior of the panels.

The structure has been built out of aluminium and concrete panels. A glass mosaic panel was a later addition in 1972, which was added to the east side of the structure.

To build the model I used thick white foam boards to show the simplicity of the structure and the arctic landscape of Tromso. I wanted to follow the inconsistent height of the panels on the cathedral, so I worked out all measurements to follow and created card panels to test before working with the foam.

Initially I did find it challenging to cut a clean edge as the foam was so thick, however I found this issue ended up creating a nice texture to each piece. I was originally going to just model this wearable on my shoulder, later on I decided to glue this onto a black cap, which really elevated the model.