Monograph

Design,MyselfAnd I

These are the works i have produced over the years, it has been a long road. I am surprised i have even made it this far considering all that has gone on outside the academic years but i made it, have grown and expect to grown even more . . .

M.Lingal

3

Tab

le O

f Co

nte

nts

Page 7

Page 43

Page 53

Pages 59

Page 65

Page 73

Page 79

Page 85

Page 91

Page 97

Page 103

36 Queen Street

Mini Max

Hacking Light Aggregates

Pilgrim

The Vessel / Stage

[ 2 in 1 ]

Urban Portriat

The Bay Trust

Research Thesis

Milan

I.A.D - Year 3

I.A.D - Year 2

I.A.D - Year 2

I.A.D - Year 1

I.A.D - Year 1

I.A.D - Year 1

I.A.D - Year 1

I.A.D - Year 1

I.A.D - Year 2

I.A.D - Year 3

I.A.D - Year 3 Trip

36

Qu

ee

n Stre

et

Min

i Ma

x

Ha

ckin

g

Ligh

t Ag

gre

ga

tes

Pilg

rim

The

Stag

e / V

esse

l

[ 2 in

1 ]

Urb

an

Po

rtriat

RoofSection

WindowSection

FloorSection

WallSection

Walnut Beams

Damp Proof Membrane(DPM)

Clad Formaldehyde FreePlywood Coating

Vapour Permeable RoofingUnderlay

Counter Batten

Walnut Laminated Rafter

Western Red Cedar WoodSiding Exterior Covering

Concrete Slab Flooring withPumice Insulation

TJI Joistick

Recycled Metal Tile Flooringand

Walnut Beam

Damp Proof MembraneSteel StructuringPumice Insulation

Brick With Steel TiesBlown Mineral-Wool Fibre

CavityPolystyrene Injected Blocks

(CMU)

Pumice Vapour Membrane

Walnut Window Sill

Concrete Lintel

Timber Double GlazingWindow Frame

The

Ba

y Tru

st

What is a greatly designed space and how is it defined? Is it a space that gets our attention instantaneously? Could it be simply a space we believe we can inhabit? How do different ele-ments work so that we can create dis-tinctions between the attractions of a space compared to the understand-ings of its use? How would you feel if we all perceived or viewed spaces the same way? would there be a word or world that understands dis-tinction? Would one appreciate de-sign? We all interpret the understand-ing of our world differently. We are all designed uniquely and perceive the world through a mixture of influences. We are all influenced by the smallest details that attract us. It is by our own unique influences we gain from the world that allows us to perceive differ-ently.Through the use of case studies, di-verse factors such as light, tempera-ture, shape, sound and color are what appear to affect behavior and distin-guish variances with an emotional re-sponse compared to that of a visceral response. It is the built environment that does not take into consideration the vast diversity of human needs. It tends to generalise and standardise.

The concept of an interior space is subjective, much like how someone might interpret a space. But the emo-tional framework behind the inte-rior seems to remain unchanged. We should use this emotive framework to prioritise our design methods, taking into account ideas of identity, desire, need, nostalgia, freedom, expression and community.

Visceral and emotional techniques should be implemented along side each other to make an interior reach a higher form of design. Simply, I be-lieve interior spaces should be design

Re

sea

rch

the

sis

Mila

n

5

Project

36 QUEEN STREETI.A.D Year 3

7

36 QUEEN STREET

9

The SiteThe site is 36 Queen Street. The building is originally used for offices that blend in the surrounding area. This area in particular as it has a lot of history and heritage behind the names of the streets surround-

ing the area.

OpportunityThe building has not been improved by the pre-vious owner and represents an opportunity to significantly reposition the building through a comprehensive refurbishment to the interior of the building.

The building is in need of a new direction and so the concept of influencing people to view the area as well as the building will be very effective in changing the way in which people interact with the area.

Walking round you will notice that as the area has been occupied with similar type offices it it home to the idea of a suit and tie. it is very rare that you would come across anyone wanting the view the area unless you know the heritage of the area or are simply just lost.

36

Qu

ee

n Stre

et

The BriefI am going to design a bicycle parking point that will be part of a historical bicycle museum with a cafe and roof garden. These Programmes will oc-cupy the basement, ground, 6th and the roof lev-els of the existing building on Queen Street with in Greater London.

It will provide a place for people who cycle through the city or even work within the area, a place to park with piece of mind. Its main attrac-tion shall be a bicycle museum for tourists to come a visit, as well as a cafe and garden situated at the top of the building.

My personal response was that I wanted to look into how to change the way people thought of the existing building. I wanted to pay closer at-tention to making the building more personal and considering the building as a relaxation point in contrast to the industrialised financial area it hap-pens to be surrounded in.

I researched on ways at which the building can attract people the area, as it is simply not an at-traction for people to come and view let alone notice. I wanted to focus on the people that al-ready occupy the space and area and create an influence into bringing different types of people to the space.

11

36

Qu

ee

n Stre

et

Communities Community 1My chosen community 1 are cyclists. They already dominantly occupy the area and I thought of a way of making something exclusive for them. Yes there are Boris bicycles but i wanted something more personalised.

My focus on the outside of London, was to try to make the building more of an attraction, and in doing so allow different types of people to view the area. I wanted to look into how people that don’t come to queen street often, use the area. I noticed people used the street as a walkway and nothing else detracting its value from the building itself.

Community 2My chosen community 2 are tourists. Tourists come to view central London for its attraction, but there is not really anything for tourist to spend time within the Queen Street area.

Community 3My chosen community 3 are businessmen. These are the men and women who currently work with-in the area already by including them they shall be able to influence other people to view the building who also currently work in the area s well as being a good form of income for the building.

13

ProgrammesMy programme 1 is to create a park point exclu-sively for cyclists. It will allow influence to use bicy-cles more to get around the city rather than train, taxi or car. This shall be a great alternative to pro-duce less emissions.

Programme 2My programme 2 is a museum. The museum will look into the history of queen street and include a section on how goods were transported in that time. The museum shall include aspects of trans-portation and the way we use bicycles today compared to that of the way, they were used back then.

Programme 3My programme 3 is a café. The café be for the businessmen in the existing area, a place to come for lunch socialise or host small meetings. It will be designed with the theme of a suit and tie to al-ready suited to the people that work in the area.

Programme 4My programme 4 is an exterior roof garden. The exterior garden shall be a place to relax mentally and visually. It will be a contrast into how the build-ing and its surrounding area has been industrial-ised today and bring an essence of the past back focusing on vitality.

36

Qu

ee

n Stre

et

View of the main area of maintenance located in the basement.

15

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

123456789

10 11 12 13 14 15 16 17 18

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

North Elevation

Eas

t Ele

vatio

n

South Elevation

Wes

t Ele

vatio

n

S-North

S-NorthS

-Wes

tS

-Wes

t

Bicycle Maintenance-1 Basement level

The lower level of the building is for bicycle repair. This is directed for the cyclist that simply need to fix their own bicycles. There is a wash room situ-ated at the south of the plan and a waiting room just above it. There are 4 repair hubs that are used for quick and efficient repair times. The reception area is directly next to the front doors of this area in any case of enquiries. There is also a storage area in the back for spare bicycle parts.

36

Qu

ee

n Stre

et

View of the bicycle [ark point, in the refreshment area located near the central void.

17

1

2

3

4

5

6

7

8

9

10

11

12

13

1

2

3

4

5

6

7

8

9

10

11

12

13

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

123456789

10 11 12 13 14 15 16 17 18

7.28 %14.57 %

7.59 %

15.19 %

DW

F

North Elevation

Eas

t Ele

vatio

n

South Elevation

Wes

t Ele

vatio

n

S-North

S-North

S-W

est

S-W

est

36

Qu

ee

n Stre

et

Bicycle Park Point0 Ground Level

This is the ground level of the building as well as where everything connects harmoniously. The use of front and back entrances are used for both people that are on bicycles that need direct ac-cess to the park point placed at the back but ac-cessible through Dolby Court. The front entrance, based on Queen Street is the main entrance for people on foot.

View of the old style museum located at the top of the main stairs.

19

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

123456789

10 11 12 13 14 15 16 17 18

North Elevation

Eas

t Ele

vatio

n

South Elevation

Wes

t Ele

vatio

n

S-North

S-NorthS

-Wes

tS

-Wes

t

Bicycle Museum (Old)+1 First Level

The old style museum shall play a major part into the remembrance of the great fire of London. It shall exhibit the uses of bicycle transportation used in that time and show the evolution of bicycles. There is no great way to display vintage bicycles so I’ve placed them so thy look like sculptures that people can look at rather than pass by.

36

Qu

ee

n Stre

et

View from within the new style museum looking in to the central area.

21

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

123456789

10 11 12 13 14 15 16 17 18

North Elevation

Eas

t Ele

vatio

n

South Elevation

Wes

t Ele

vatio

n

S-North

S-NorthS

-Wes

tS

-Wes

t

Bicycle Museum

(New)+2 Second Level

This part of the museum shall house futuristic uses of bicycles with enhancements in technology. There are areas where people can sit and there is an area which people can try out new exhibitions which is located in the middle of the plan.

36

Qu

ee

n Stre

et

View of the Cafe situated on the 6th floor. Relaxation, food and the view.

23

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

123456789

10 11 12 13 14 15 16 17 18

FF

DW

North Elevation

Eas

t Ele

vatio

n

South Elevation

Wes

t Ele

vatio

n

S-North

S-NorthS

-Wes

tS

-Wes

t

Main Cafe+6 Sixth Level

This part of the building is the main relaxation area situated a floor below the top floor. This is where people can socialise or eat with others, or even on their breaks. This is great as the space is large and has a great view of the surrounding area.

The prices of the food shall be lower to attract customers into interacting with the building as well as contrasting the surrounding area at which the building is located.

36

Qu

ee

n Stre

et

View from the top of the building where the roof garden is located. Green grass, water and the fresh air.

25

North Elevation

Eas

t Ele

vatio

n

South Elevation

Wes

t Ele

vatio

n

S-North

S-NorthS

-Wes

tS

-Wes

t

Roof Garden Plan+7 Seventh Level

The roof garden has the simple aspect of making people feel relax compared to the harsh envi-ronment that they are constantly surrounded by. There are large areas of grass and thee hexagonal shaped island that is surrounded by water for peo-ple to walk by. The whole idea of this area is so that the view across the landscape at a higher level will allow people to see in to the distance and feel at

ease with an essence of escapism.

36

Qu

ee

n Stre

et

27

36

Qu

ee

n Stre

et

AxonometricAll proposed levels

I have stacked each of the levels in axonomet-ric so there is a simplified way to view all levels at once in 3d.

Starting from the bottom right is the basement lev-els working your way left to the top of the building.

View of the central void located throughout the building.

29

Central VoidThe central void is as it says, it is placed in the cen-tre of the building. The ground and first floor shall be used to allow the bicycles that need to be transported through the use of the park point can do so with ease. Although the levels above shall also have a light filled void.

I wanted to show a likely perspective how people would feel attracted to the warmth of the light that the central void gives off. I wanted people to find comfort in just looking at the glass and to give

off this instant essence of amusement.

DetailI wanted to show a simple detail to how the glass of the central void attaches to the existing struc-ture. l.e.d lights are attached to either side of the glass to give the glass a warm yet elegant light for the background.

36

Qu

ee

n Stre

et

Exterior view of the bicycle park point as you enter from the back entrance.

31

Bicycle Park PointI wanted to look into the Bicycle park point situ-ated at the back of the building as this shall be where i shall be storing the bicycles from the com-munity of cyclist that shall be using the space.

I wanted to show an abstract view that works with your own imagination. The lights that shall cover the structure of the bicycle park point shall give off an essence of life to the building as the sun dies down during the day. Even though situated at the back o the building, it shall be a visible light source to people who are currently within the building.

DetailI wanted to show a simple detail to how the struc-ture attaches to the existing cross beams that sup-port the levels of the building. The cross beams are simply extended to form the curvature of the park

and the park is then built from this structure.

36

Qu

ee

n Stre

et

A. B.

C. D.

33

Main StairAs soon as people enter the building they are faced with the large open area of the ground floor and i wanted to people to view the large stairs near the main entrance to be also a sort of attraction. The elevators are great for travelling to the upper levels but the main stairs needed to be something that people enjoy walking on. i decid-ed to focus on this by adding the element of light to work with your visceral senses.

I wanted to show detail of the main stair and how they connect within the existing building. i wanted to show the structure of the glass and how it connects together in different views.

A. East elevationB. South elevation C. Wedge & glassD. Connection to glass

36

Qu

ee

n Stre

et

1:5 scale model of main stair during the day.

35

36

Qu

ee

n Stre

et

1:5 scale model of main stair during the early evenings.

Internal render of main stair.

37

Main Stair I created the main stair situated on the ground level into a final form. The build-ing is the focused feature as it what break eyes level as soon as you enter the building. during times, towards later in the day, illuminates as seen, through the use of l.e.d glass placed on top of the steps. The steps, supported by glass help transmitt the light through the glass, making it atractive as soons as one en-ters. The use of light helps with your vis-ceral responces to intantly getyour at-tention.

36

Qu

ee

n Stre

et

1:200 scale model of proposed building. View of Bicycle Park point.

39

36

Qu

ee

n Stre

et

ElementsThis is my final model which shows off the bicycle park point the main stair as well as the beginning of the central void all with origination to the ground floor. I pur-posely did not create the whole build-ing to show all the elements clearly and their placement through the building.

Rendered exterior view of the proposed building within the surrounding area.

41

36

Qu

ee

n Stre

et

Rendered exterior perspective of the proposed building within the surrounding area.

Project

Mini MaxI.A.D Year 2

43

45

Min

i Ma

x

Museum / PalazzoI had to design a functionality that would attract tourists to come to a historic part of Malta bring-ing two buildings that reside next to each other together in hope to change the way people see the buildings.

What I intend to do is extend the back end of the museum and connect the 1st and ground floors to the 2nd and 1st floors of the palazzo. In the court-yard of the museum there shall be a projection area in which only people who attend the café within the palazzo during the night shall see.

1 2 3 4 5

6

7

8

9

10

11

12

13

14

15

16

17

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

F

B-03

B-02

B-01

A-01

A-02

A-03

Level 0

A-02

A-01

A-03

B-01 B-02

Glass

In Fill

Glazing

Brush Seal

Glazing Bead

Cavity Tray

Flexible Cavity Closer

Flat Roof

Deck

Roof Board between Joists

Joist

Cement Board to close Cavity

Under Joist Insulation withPlaster Board and Skin

Insulated Lintel with CombinedCavity Tray with Stop Ends

Steel Lintel

Rigid Foam Board

Cavity Insulation

Sheet Rock

Water Based Paint

Floor

Joist Spray Foam

Mineral Wool

Ceiling

47

1 2 3 4 5

6

7

8

9

10

11

12

13

14

15

16

17

B-03

B-02

B-01

A-01

A-02

A-03

Level +1

A-02

A-01

A-03

B-01 B-02 B-03

123456789101112131415161718

Level -2

A-02

A-01

A-03

B-01 B-02 B-03

B-03

B-02

B-01

A-01

A-02

A-03

123456789101112131415161718

Level -1

A-02

A-01

A-03

B-01 B-02 B-03

B-03

B-02

B-01

A-01

A-02

A-03

Construction of FloorsThe 1st and ground floor of the museum shall be linked to the palazzo although the exhibition rooms along with the sidewalls, which will flow in a circular way leading back into the museum during the day.

On the 2nd floor of the palazzo there shall be a café/ and on the 1st floor a museum shop placed with in the middle rooms of the palazzo, along the first wall of the palazzo and the back wall of the museum. There shall be an opening into the court-yard although that shall be sealed during the night with a large piece of glass, that will allow viewing and which people can wander into and allows tourists to see the projections at night. The court-yard of the palazzo shall remain the same. At night the courtyard is only view able but sealed off dur-ing the night whilst the cafe is in operation.

There is no walking access from the 2nd floor of the museum to the palazzo roof during the night time as it shall be closed, there is restricted access from the 1st floor of the museum to the 2nd floor of the palazzo as this wont be accessible at night, other than the large glass connected to the museums courtyard.

Min

i Ma

x

Basic axonometric of levels.

49

Min

i Ma

x

Simple interior renders of proposed levels.

Perspective drawings of proposed interior spaces.

51

Min

i Ma

x

Project

HackingI.A.D Year 2

53

55

Personality HackThe I had to create a new lifestyle thought a alter-nate way of hacking. i looked into different types or versions of hacking that are implemented into our everyday lives and created my own unique personality with different traits.

Ha

ckin

g

Hacking of a briefcase.

57

Ha

ckin

g

Collage into the hacking of a lifestyle

Project

Light AggregatesI.A.D Year 1

59

Images of experimented light aggregates. Kettle symbolising pier.

61

Archival ValueThe value in which something has, through time. In this project I aimed to bring three social groups to-gether and create a time line of importance that should be projected onto the structure in Whit-stable pier.

The social groups comes with three types of his-tories; past, present and future and in time every-thing that has a beginning has an end. Although I cannot psychically change the appearance of the building, I can change the skin in order to make it look like as if it has aged further.

My concept hopes to achieve a new quality that shall bring all three social groups into one form be-ing projected upon the structure within Whitstable pier.

Ligh

t Ag

gre

ga

tes

View of site plan and basic drawing of pier.

63

Ligh

t Ag

gre

ga

tes

Rendered exterior view of the proposed building within the surrounding area.

Project

PilgrimI.A.D Year 1

65

Model structure of proposal car wash.

67

Car Wash Hub

I designed hub that allowed people to temporary stay on top and yet at the same time be used by cars in the car park itself.

Short Stay St. Radigunds304 spacesSince the car park itself is a short stay car park. The time that it takes for a minimum ticket to expire a car that is going to be tendered will be already done and clean. It would be a part drive through as I am thinking only one side of the car would be cleaned at each time rather that both side in a simple conventional drive-thru car wash.

Pilg

rim

Drawings of site plan, section, plan and elevation.

Picture representing the proposed car wash movement.

69

Pilg

rim

View of car wash within st. radigunds car park.

71

Pilg

rim

View looking outside from within the upper floor.

Project

The Vessel / StageI.A.D Year 1

73

Collages of the Marlowe theatre and Canterbury castle.

75

The

Ve

ssel / Sta

ge

Temporary InstallationIn this Project I was asked to design a performance space within Canterbury Castle. Responding to the temporary closure of The Marlowe Theatre and the consequential demand for the alterna-tive production venues in the city, I used the ves-sel defined by the castle walls as a site for a (con)temporary stage and auditorium.

Collage model using basic plans of the Marlowe theatre.

Plan of proposal.

77

The

Ve

ssel / Sta

ge

Section of proposal.

Project

[ 2 in 1 ]I.A.D Year 1

79

81

La Cubique

To design a piece of furniture that had two uses in a public and private sector. The components were vertical strips of tubing and when placed close enough together, you were able to sit on this awkward looking object, as well as storing objects in between the gaps.

I wanted to concentrate on the final look of the whole piece. I researched on different architects and found that Thomas Heatherwick was the most helpful in capturing the look of the object we were trying to achieve with his piece called Sitooterie II. I wanted it to be too obvious what we had de-signed at first and wanted it to look like an abstract sculpture piece so by using these thin pieces of plywood to create the chair it gives the illusion of being uncomfortable and weak almost like a bed of nails. In reality though it is tough and fits well to the shape of your body, which in the public sec-tor will make people, want to touch and work out how the piece of furniture works.

How we see the piece of furniture being used in the public sector is mainly at nighttime because of its inner light. It will light up dark corners and spaces in the town while providing a seat. In the private sector it will be used more for storage, such as magazines, books, remote controls etc. As well as being a main feature of the room because of the light.

[ 2 in

1 ]

Pictures into the development of the chair.

83

[ 2 in

1 ]

View of chair emitting light.

Project

Urban PortraitI.A.D Year 1

85

Making of the mask prototype models for final exhibition and the site plan.

87

Infra-OrdinaryI defined the Infra-ordinary to perceive perception in an-other perspective. Being able to hear differ-ent types of frequencies so that objects and sur-roundings can be heard in a new way, in which a new perspective is created.

Sound is the main focus, in sound we hope to gain recordings of sound beyond daily perspec-tive and focusing on the sounds that are distorted through our distortion device. The device is in two parts where the main device has an attached Dictaphone which shall record at a distance. The other shall be used for noting down every emotion that is mention.

I wanted to focus on back streets that are not usu-ally occupied by footsteps yet at the same time seeing the distinction between the centre of town. Personally I have noticed walking through the centre of Canterbury numerous amounts of time that the general population in the area occupy the centre the most, which may be due to the size of the pathway or the amount of shops available in the wide open area.

The different areas in which is most noise polluted and analysing the results to graph out the route in places that have a higher frequency. In this case we can clearly show that through numerous ob-servations which areas have higher frequencies.

Urb

an

Po

rtrait

89

Urb

an

Po

rtrait

91

Project

The Bay TrustI.A.D Year 2

93

RefurbishmentThe Museum that is located in St.Margaret’s, Kent and has been in bad shape for quite some time. So a needed refurbishment shall keep the building standing. The building is continuously deteriorating at rapid speed and has insufficient grade insula-tion, high energy use , with an unusable arrange-ment of the rooms.

A more sustainable and ergonomic environment is the purpose of the Bay Trust, so that it could be redesigned and used in terms of reliability and the new purpose it has been given. The new design of the building shall include various sustainable ma-terials with a change with in the interior space that already exists.

The Bay Trust Organisation is apprehensive with sustain ability The refurbishment building will be almost entirely sustainable with a low carbon footprint and using natural and locally available materials, I have selected materials which are not only suitable to blend in with what is already on the site but are also eco-friendly and re-usable.

The

Ba

y Tru

st

RoofSection

WindowSection

FloorSection

WallSection

Walnut Beams

Damp Proof Membrane(DPM)

Clad Formaldehyde FreePlywood Coating

Vapour Permeable RoofingUnderlay

Counter Batten

Walnut Laminated Rafter

Western Red Cedar WoodSiding Exterior Covering

Concrete Slab Flooring withPumice Insulation

TJI Joistick

Recycled Metal Tile Flooringand

Walnut Beam

Damp Proof MembraneSteel StructuringPumice Insulation

Brick With Steel TiesBlown Mineral-Wool Fibre

CavityPolystyrene Injected Blocks

(CMU)

Pumice Vapour Membrane

Walnut Window Sill

Concrete Lintel

Timber Double GlazingWindow Frame

RoofSection

WindowSection

FloorSection

WallSection

Walnut Beams

Damp Proof Membrane(DPM)

Clad Formaldehyde FreePlywood Coating

Vapour Permeable RoofingUnderlay

Counter Batten

Walnut Laminated Rafter

Western Red Cedar WoodSiding Exterior Covering

Concrete Slab Flooring withPumice Insulation

TJI Joistick

Recycled Metal Tile Flooringand

Walnut Beam

Damp Proof MembraneSteel StructuringPumice Insulation

Brick With Steel TiesBlown Mineral-Wool Fibre

CavityPolystyrene Injected Blocks

(CMU)

Pumice Vapour Membrane

Walnut Window Sill

Concrete Lintel

Timber Double GlazingWindow Frame

95

RoofSection

WindowSection

FloorSection

WallSection

Walnut Beams

Damp Proof Membrane(DPM)

Clad Formaldehyde FreePlywood Coating

Vapour Permeable RoofingUnderlay

Counter Batten

Walnut Laminated Rafter

Western Red Cedar WoodSiding Exterior Covering

Concrete Slab Flooring withPumice Insulation

TJI Joistick

Recycled Metal Tile Flooringand

Walnut Beam

Damp Proof MembraneSteel StructuringPumice Insulation

Brick With Steel TiesBlown Mineral-Wool Fibre

CavityPolystyrene Injected Blocks

(CMU)

Pumice Vapour Membrane

Walnut Window Sill

Concrete Lintel

Timber Double GlazingWindow Frame

RoofSection

WindowSection

FloorSection

WallSection

Walnut Beams

Damp Proof Membrane(DPM)

Clad Formaldehyde FreePlywood Coating

Vapour Permeable RoofingUnderlay

Counter Batten

Walnut Laminated Rafter

Western Red Cedar WoodSiding Exterior Covering

Concrete Slab Flooring withPumice Insulation

TJI Joistick

Recycled Metal Tile Flooringand

Walnut Beam

Damp Proof MembraneSteel StructuringPumice Insulation

Brick With Steel TiesBlown Mineral-Wool Fibre

CavityPolystyrene Injected Blocks

(CMU)

Pumice Vapour Membrane

Walnut Window Sill

Concrete Lintel

Timber Double GlazingWindow Frame

The

Ba

y Tru

st

Project

Research ThesisI.A.D Year 3

97

‘In design, it’s not always what we want that relates to what we need.’

Markos Lingal

What is a greatly designed space and how is it defined? Is it a space that gets our attention instantaneously? Could it be simply a space we believe we can inhabit? How do different elements work so that we can create distinctions between the attractions of a space com-pared to the understandings of its use? How would you feel if we all perceived or viewed spaces the same way? would there be a word or world that understands distinction? Would one appreciate design?

We all interpret the understanding of our world differently. We are all designed uniquely and perceive the world through a mixture of influences. We are all influenced by the smallest details that attract us. It is by our own unique influences we gain from the world that allows us to perceive differently.

Through the use of case studies, diverse factors such as light, temperature, shape, sound and color are what appear to affect behavior and distinguish variances with an emotional response compared to that of a visceral response. It is the built environment that does not take into consideration the vast diversity of human needs. It tends to generalise and stan-dardise.

The concept of an interior space is subjective, much like how someone might interpret a space. But the emotional framework behind the interior seems to remain unchanged. We should use this emotive framework to prioritise our design methods, taking into account ideas of identity, desire, need, nostalgia, freedom, expression and community.

Visceral and emotional techniques should be implemented along side each other to make an interior reach a higher form of design. Simply, I believe interior spaces should be design to appeal to the visceral then emotional responses to work along side one another, as op-posed to working against or individually.

Re

sea

rch

The

sis

99

Trip

Milan I.A.D Year 3

101

103

Mila

n

105

Mila

n

107

Mila

n

109

Mila

n

111

Mila

n

113

Mila

n

115

Mila

n