Degree Show 13 at UCLan

Capturing Creativity

14th – 21st June 2013

The degree show has been a fantastic opportunity to see lots of great design work with a strong commercial and professional focus. The outputs that I saw in the show were:

• Models
• Banner and printed work
• Books
• Film

I have gathered photos of work that I can learn from and that can help to highlight what I wish to achieve on a personal level and also need to achieve with my work partner Chen for our semester three project. We now have to plan for our own show in October.

Interior Design

Work by Anna Lysik: Patterned book cover with a laser cut title. I think this effect looks sleek and professional, with a hand-made touch. Each page is designed and printed out individually and stitched together by hand.

A beautiful laser cut model of Victoria Baths in Manchester by Anna Lysik.

Anna’s organic structure that sits in the interior of Victoria Baths.

Anna’s presentation banner – note her layout and use of visually communicating her design ideas (useful to consider for our Poster Presentation).

Anna’s drawing up-close. The inflatable structure has been rendered in 3D Max and the image created using Photoshop.

Laser cut model

Presentation banner by Victoria Williams – another example of presenting design work.

Setting the scene: drawing manipulated on Photoshop to convey mood.

Another example of an expressive drawing that illustrates an idea. I want to play and experiment with these effects to think how I can use visual communication to illustrate my ideas.

Marcin Iwaszkiewicz

Marcin’s model

His project named The Loft – a title is very important and a clear presentation banner.

A 2D plan created on Autocad.

A drawing of Marcin’s up-close. I love his drawing technique and use of colour.

Matthew Cross’ model who is graduating from Architectural Technology.

Graphic Design

Find ways of communicating my ideas well.

Visual communication requires simplicity and need to capture the essence of an idea.

3D Design: Hayley Farrell

Hayley’s laser cut lights

Furniture by Dan Phillips

Surface Pattern

2D drawing for a textile design

Wallpaper by Sinead Kennedy

Sinead’s interior mood boards

Note: her use of putting her surface pattern designs in context of interior furnishings, which makes it sellable.

Fashion Promotion

Fashion Design

Architecture: Backlit images worked well as light emitted enhanced the images.

Expressive design sketch = inspired to experiment!

Sketches illustrated in negative.

Hand sketching by Natalia Karvouni.

Ceramics: Ruth Benson

Illustration: sketches that show thinking; detailed images very effective in reflecting the illustrator’s ideas. A great example of visual communication.

Key Points to consider from the show:

• Be creative for the book with InDesign; laser cutting for titles or patterns; put it together by binding or by hand for a more crafty effect; use of different textured papers i.e. tracing paper.
• Presentation banner – be aware of layout and use of visually communicating my design ideas. A title is very important
• Design drawings: using layers of colours and drawing technique effects on Photoshop to create a personalised presentation effect
• Use visual communication simply and to capture the essence of an idea
• Put design in the context of its environment to market its lifestyle.

Research the output for our show, which will include:

• Models (allocating time for their creation)
• Banners
• Booklet
• Personal CV
• MA Interior Design course brochure
• Poster Campaign

Need to:

• Meet the modelling team to agree construction possibilities and timescales for production
• Make a timeplan for semester
• Role allocation in teams

Areas to develop:

• Drawing skills for presentation (artistic and informative)
• Visual communication to illustrate ideas
• Look for examples of printed materials as inspiration
• Use of rough models to illustrate thinking and polished versions

Motoko Ishibashi

I saw my friend Motoko Ishibashi’s work in the BA Fine Art Degree Show at the Slade School of Art. She is a Japanese artist who is inspired by the work of Japanese pop culture and history and explores abstract ideas from her imagination, which is expressed through colour. I am a big fan of her work, her sense of colour and how she uses a variety of texture and mediums to tell a narrative.

#

Cheered Up Girl and #

 

A Cheered Up Girl

A Cheered Up Girl (detail) 

Beam!

Untitled ( space )

Untitled ( star )

Halton Mill: Interior Design Project

Presentation of Ideas: 15th February 2013

On Friday, I went along with my team (tutor Steve Bennett, interior design student Chen Zhao and surface design student Bonnie Craig) to visit Halton Mill to present our project ideas to Green Elephant Ltd and a handful of Lancaster Cohousing residents. We displayed our research, design development and design proposals to them in the format of an online presentation to make sure we were concise and clear. We worked as a team to pull together our strengths to create design proposals in the timescale of two-three weeks (one of which was spent on a design research trip to Berlin). We were received warmly and enthusiastically, which was not just encouraging and uplifting, but a relief too! It has been a great opportunity to learn through doing and work with a client on a live brief, which in itself is very valuable. It came with challenges of courses. Firstly, to achieve our goals and deadlines within a restricted timescale and working with a brief that was vague. Also as our client was a committee with varying opinions, it was harder to understand a particular viewpoint in order to build a basis for our design brief. However we overcame this by analysing what they told us collaboratively and from the principles, aims and objectives written on the Halton Mill website. From this, we carved initial starting points by looking at:

• the history of the site
• the ecological and environmentally friendly ethos of Green Elephant
• Using recycled, reused and upcycled materials to realise our designs on a limited budget
• Creating an inspiring environment encouraging collaboration and ideas
• Looking at industrial-style interiors (a current trend) and other other examples of contemporary industrial building conversions.

The Aims of our Project were:

• Create a visual identity that reflects Green Elephant’s values, the mill’s history and the building’s function
• Produce a set of interior design elements and styles that can be applied throughout the building as needed
• Work up these ideas in the two main communal spaces in the mill
• Consider potential uses for the various spaces inside the mill

We concentrated on designing for the reception (first impressions on arriving to the mill) and the creative hub (a multifunctional space and the centre of the community in the mill). Below, I have put together a collection of our key areas of research and design ideas, following by the Prezi, which is a presentation of our process. We have also a documentation of this in the form of a brochure (pdf): HaltonMillPrint_v3.1BC

Initial Research Ideas and Brainstorming

(a lot of inspiration came from Interiors UK 2013 in Birmingham NEC)

Mood Board for Reception Option 1

“Industrial Eco-Studio”

Materials

Design Development and Design Proposals

Mood Board for Reception Option 2

“Creative Lounge”

Materials

Design Development and Design Proposals

Mood Board for “Creative Hub”

Design Development and Design Proposals

Surface Pattern

Online Presentation (Prezi)

What have I learnt from this design project?

• To work with a client on a live brief and keeping to a deadline
• Working as part of a team, which is a very real working situation
• Looking at different ways to find inspiration and ideas (visiting exhibitions – Interiors UK 2013 and Berlin, trend websites – WGSN etc.)
• Developing my understanding of the interior design process and my own method of designing (gathering research, developing ideas and making sketches etc.)
• Learning about ways to create design ideas and concept sketches (quick hand drawings or using tracing paper behind a sketchup model of interior space, and using photoshop)
• Developing skills in autocad and google sketchup
• Researching materials and considering the pricing for these to fit with a budget
• To keep practicing drawing and designing to keep improving this skill, and…
• Believing that anything is possible!

Interiors UK 2013

Interiors UK 2013, NEC in Birmingham: 20-23 January

I visited on 23rd, which was the last day of the exhibition and it was a great chance to look around and source ideas and inspiration from the industry. The show included all aspects of interiors – furniture (indoor, outdoor), lighting, fabric, flooring, carpets and decoration. Unique sections included the New Design Britain Awards for young design talent, colour trend predictions from Birmingham City University and Global Colour Research and Designersblock & Co: a network of young designers and makers. I found these sections particularly exciting because a wonderful collection of contemporary design continues to grow in the UK. I believe that opportunities for young designers is so important and that talents have to be nurtured by the industry in order for new ideas to flourish. There was also a schedule of seminars from visiting professionals, offering inspiration as well as business and retail advice.

I watched the end of a talk  by Amanda Back, the public relations manager at Designers Guild. She discussed the use of colour and pattern within interior residential design, as well as colour and design trends for 2013. It was very interesting and also how colour can be used either boldly or sensitively to make an interior space feel characterful. She said that it is important to use colour and pattern with confidence and it will most likely work as a concept. Her top trend forecasts are:

• A theme of Modernity
• Washed and faded fabrics going from light to dark
• Tie dye fabrics
• Big florals
• Wallpapers with a base pattern and layered with photograph
• Use of white, black and neutral with a splash of accent colour.

Following Amanda Black, was a talk by colour consultant Joa Studholme from Farrow and Ball. This was a very enthusiastic talk and I didn’t just enjoy listening to her reasonings, but learnt a lot too. When taking on a new job, the first things that she considers are:

• Architecture – the proportions of the building and details of the interior space. She considers too the purpose of the building i.e. whether it is a museum, a restaurant or hotel etc.
• Light – What is the natural light? From which direction does it come? How does it light up the space? How can colour enhance this light within the space?
• Comfort – making it feel right for the client, while also suiting the proportions of the architecture.

She had many ideas, thoughts and experience about the delicacy of using colour in the right way and this was inspiring. Others suggestions she had was:

• Light and space: use lighter colour on walls and darker colour on woodwork because it makes it look more designed.
• Colour on skirting boards narrows room at the floor, opening space out at the top towards the ceiling.
• Accent colour within a neutral pallette makes everything look bigger
• Using wallpaper in a cupboard or wardrobe is an attractive decorative feature. Idea of a hidden colour or pattern within the drawer waiting to display its splendour!
• Use darker colour in smaller spaces and lighter colour in larger spaces
• The mixing of soft neutral colours offers a relaxing atmosphere
• Reflective metallic wallpaper is beautiful for how it reflects light
• Smaller patterns create a more intimate space

Farrow & Ball colours: included in a “goody bag” given to us at the time of the talk.

Interiors 2013 Birmingham NEC

Top left to right: Duresta (sofas), Elstead Ligthing Ltd.
Details: patterns on upholstery, lamp shade, screen divider and wallpaper.
Colours: neutrals, red, gold and blue.

Selection of furniture from: Tom Schneider, Baker Furniture, Bluebone.
Details: recycled wood and metal. Industrial feel, great for offices or in the home.

Oliver Hrubiak Design
A fantastic design and I loved reading his design concept, sketches and process.

Designersblock & Co
including work by Sarah Turner, Studio Sudi, Plumen Boskke.
Details: use of recycled materials and creating sustainable product design. Unique designs from young contemporary designers.
The hanging plants with lights by Plumen Boskke is a beautiful installation suggesting a greener way to create design solutions.

Facade of a book shop: an engaging visual upon entering the exhibition.

Hospitality Salon Culinaire competition sponsored by Cake Craft & Decoration Magazine.

Visit to Birmingham Museum and Art Gallery

Beautiful architecture and exquisite details – large, welcoming gallery rooms.
Lighting creates a calm, inviting atmosphere for exploring and yellow warms and adds intimacy to the space.

Colours make a striking exhibition space:
warm sunny yellow, rose, peach, deep red, orange red and red brown complements teal green, sky blue, violet, acquamarine, and navy.

Rich materials: gold, silver, pearl and precious stones and jewels.

This stunning and dramatic hanging sculpture complements the circular space extending through each floor level, while adding a sense of drama. Offering a focal point, it enhances the space and celebrates Birmingham’s history. The fine metal chains and coloured disks catch and reflect the light, creating a magical sensation.
I love it!

Christmas Magic in Milan

Why is Light so Important?

There is much magic in the air in the countdown to Christmas and here are some glimpses of Milan’s atmosphere. There is much that I can observe and think about further in relation to my practice. The key element that stands out is the importance of light and how it creates this festive magic. It not only provides warmth and light in the interior of homes and buildings during the dark wintry days, but is also a symbolic representation. Within a biblical context, it is the shining star of David, the guidance from the Angel Gabriel and the light brought into the world from the birth of Jesus. This association with light is apparent and also mentioned in the poem, The Lord’s Light Within by M.S.Lowndes. Words include:

So rekindle the flame within us, Lord,

So it will not flicker nor dim,

Ignite us with the light of your love,

So you will shine brightly within. 

Accademia delle Belle Arti di Brera Biblioteca (Pinacoteca di Brera)

A secret library hidden away within the Accademia delle Belle Arti di Brera in the Pinacoteca di Brera is a place where magic has touched the surfaces and left behind traces with layers of history. Specific lighting highlights the wooden shelves filled with books and the arched ceiling. There is a sense of grandeur that is very different in its display to British architecture and decoration. The chandeliers give the interior a grandness and they are the initial focus of the room. However, looking beyond the shining crystal, there is detail in the ceiling and great symmetry in the room, which is pleasing to the eye. It is a beautiful space, with a warmth, making it a welcoming environment for studying.

Milan’s Christmas Cheer

• Architectural features highlighted in the Galleria di Vittorio Emanuele II
• Abstract glass structure inside the Duomo: contemporary v historic materials and form
• Use of golden materials that reflect light beautifully
• Glittery lights lining a building’s facade

Blue Lighting

• Combination of architecture with lighting
• Swirls of blue lighting used in Museo di Novecento for decoration
• Lighting used for purpose and decoration
• Old buildings renovated into contemporary interiors
•  Blue lighting to highlight window frames
•  An array of forms make a visual feast for the eyes

Winter White

• Mirror illusions at the Pinacoteca di Brera, which create an effect of secret doorways and spaces
• Snowflake decorations on the facade of buildings
• Sheltering under another shelter: person under umbrellas below a pavillion in Giardini Pubblici
• Creative use of textile sculpture in interior retail design to entice the customer in

Why does Christmas lighting cheer one’s spirit?

• It is comforting
• Provides a sense of childhood nostalgia
• Light brings guidance, positivity, strength and life; even plants cannot grow without light.
• In relation to man and nature, light comes hand-in-hand and is a very important element within interior design.
• Think about why light is so important in relation to man and nature? How does light affect an interior space in different seasons?

Manchester’s Secret Spaces

Manchester’s Canal

On Thursday, my class went to Manchester for the day. It was a great day for looking, collecting and absorbing; and a day of brainstorming and thinking. To start with, Steve gave us a little tour around the city centre, telling us stories, information and highlighting specific details in the cityscape that otherwise go unnoticed. We looked at a lot of places, considering a context in which to develop our design ideas.

In the past week or so, I have been working on my literature review and this has helped to clarify the elements that have driven my ideas. An aim is:

• to create a space within the urban environment that allows people to escape the hectic city to a magic place of quietness, calm and reflection.

And to consider:

• why an interior space should be magical
• why treehouses act as a link between the built and natural environment

I would like to think about the context of a  treehouse within an urban environment…

• Set up above the ground, people are physically and emotionally detached from the ‘reality’ of city life below.
• Treehouses are secret places hidden amongst branches. I would like to give people a sense of being in the trees
• create a magical interior space that engages people with their senses, imaginations and memory (like childhood nostalgia).
• It is a blending of the natural and urban environments that offer something new for city inhabitants to escape for a moment of calm.

Ideas from last week:

• A forest in the city?
• A performance restaurant?
• A city skyline project?

A forest in a city: the importance of growing trees in our cities for future development. The current floods in the south-west of England are proof that we should consider building upwards…

In relation to Manchester, we considered:

• a line of trees sweeping down Piccadilly Station out into the street to connect transport and commuter links with the centre of the city.
• secret meeting spaces within the station or other locations in the city for business, social etc.
• element of spying above eye-level is important and not seeing above eye-level. This links in with the treehouse
• constant triggers; marketing imagery; subconscious illusions
• What about shelter within a city?
• How can we use the space in a city better? For example: narrow streets create a lot of wind. Can we use this resource and create wind or sound power?

Secret spaces in Manchester:

• ways to use hidden pathways
• connecting alleyways off busy highstreets
• connecting spaces
• secret places: fantasy and performance?
• a hidden, quiet place in the middle of a busy city

How was the trip helpful?

Walking around, looking at details helped me to understand and get a feel for space inside a city centre and think about how to use it in relation to my ideas. We saw places with so much magic, for example, The John Rylands Library, Manchesters’ canals and Chetham’s School of Music Library. I am still not clear of my next step and I am looking forward to my tutorial tomorrow to talk about it.

Picadilly Station

Characterful architectural details in the city

• Public spaces used for exhibitions,
• curved buildings,
• buildings peeping out over the street,
• patterned details on building exterior,
• reflections on windows from other buildings,
• extension of existing building to new one,
• city meeting places for local residents.

Passages and connections to other spaces

Quiet and atmospheric secret space in the middle of the city at Chetham Music School

The effect of lighting, colour and patterns to create mood.

I like the colour palette of the interior restaurant bar with the cluster of hanging lampshades.

Magical details and patterns at the Gallery of Modern Art

to create texture and atmosphere

“Found in the quiet forests, this creature’s horns communicate into the furthest corners of the earth and up into the highest trees”…(The John Ryland’s Library)

What lies in the magic of The John Ryland’s Library?

• Secrecy spaces,
• exquisite detail,
• peep-holes and passages,
• gothic style and
• magical light shining out of the dark.

Mist and Fog

The Magic of Mist…

Following on from my earlier research on The Secret House, by AGi Architects in Kuwait, about its intriguing use of fog in the garden, I would like to look at other ways that mist creates a sense of magic.

The Natural Environment

Top: Painting Land of Myth, by Artist Ken Hong Leung *1. His paintings are very enchanting and and they capture atmopshere, imagination and mystery. I find his works describe magic well – real landscapes interpreted with an unrealistic wash of colour and his use of mist adds to its dreamy atmosphere. He really creates a mood and that gives it a touch of magic. Middle: Neuschwanstein castle in Germany. A true fairy-tale castle, it began construction in 1868 for King Ludwig II. It sits on the top of sheer rock and when fog forms in the valley below, it adds to the magical fairy-tale atmosphere. It also has a sense of power as it towers above the clouds of mist, emphasising that it is in its own imaginary world.  Bottom: Magic Rainbow by Ben Heine *2. Heine said that he took the rainbow in Kenya: ‘I’ve magnified a bit the colors, but that’s a genuine rainbow!’ That’s real magic that he has captured, through framing a view and confirming the beauty that nature can produce.

Anthony McCall

Anthony McCall, is an artist that specialises in projected film. These are solid light installations with a digital projector, a beam of light in a dark room and a haze machine. In an Anthony McCall exhibition at the Serpentine Gallery from 30th November 2007 – 3rd February 2008, the gallery said the following about McCall’s work:

‘In these works, the artist sought to deconstruct cinema by reducing film to its principle components of time and light and removing the screen entirely as the prescribed surface for projection. The works also shifts the relationship of the audience to film, as viewers become participants, their bodies intersecting and modifying the transitory forms’.

(Serpentine Gallery, 2007, www.serpentinegallery.org) *3

This interests me very much because it takes away the frame of the camera and the viewers are experiencing the real space of the composition and form, set up by the artist. They engage with the space and get a sense of the atmosphere. Architects and interior designers do something similiar, by reading the context of the environment and creating an atmosphere by using certain elements.

References:

*1 Leung Studio (2007)  The Art of H. Leung [online]. Available at:  http://www.leungstudio.com/hleung_gallery/index.html [Accessed on: 19 October 2012]

*2 Heine, Ben (2009) Magic Rainbow [online]. Available at: http://www.flickr.com/photos/benheine/4008010687/ [Accessed on 19 October 2012]

*3 Serpentine Gallery (2007) Anthony McCall 30 November 2007 – 3 February 2008 [online]. Available at: http://www.serpentinegallery.org/2007/04/anthony_mccalldecember_2007_ja.html [Accessed on: 19 October 2012]

Sugar and Spice, and all things Nice

To develop my research, I’m looking at different spaces and places that contain a sense of magic. This will help me to broaden my understanding on how a place is magical and why it is. What are the main elements that make a space magical? How can I transfer this to an interior design context?

A deliciously magical world waiting to be discovered..!

The first aspect I’m looking at is… Pip and Pop! Artists Nicole Andrijevic and Tanya Schultz, based in Perth, Australia, entice children and families to enter their magical world… They create installations made up of sugar, fluorescent colours, glitter, modelling clay and cake decorating tools to name but a few. I find this incredibly exciting work and really exports you to a delicious world of fantasy. They are a perfect world for children to dream, be inspired, and perform their imaginary stories. There was an exhibition called We miss you magic land! at the Gallery of Modern Art in Queensland (26th November 2011 – 4th March 2012). The gallery described it as:

“Pathways and peepholes will lead visitors to different worlds: a magical forest filled with strange flowers, vines, mushrooms and animals; a cosmic universe condensed into a darkened room with twinkly stars; and a volcanic lake with crystals, mist and liquid pools are just some of the creations waiting to be discovered”.

(Gallery of Modern Art, 2012, http://qagoma.qld.gov.au/exhibitions-/past/2011/we_miss_you_magic_land) *1

we miss you magic land! Children’s Art Centre, Gallery of Modern Art Queensland.

References

*1 Gallery of Modern Art (2012) we miss you magic land! [online]. Available at: http://qagoma.qld.gov.au/exhibitions-/past/2011/we_miss_you_magic_land [Accessed on: 20 October 2012]

Why is a space magical?

How do designers inspire imagination and bring magic into an atmosphere?

The architecture of Antonio Gaudi is magical for it inspires awe at the level of detail he created for his buildings. Here the rooftop of Casa Milà in Barcelona is a theatrical stage of warmly-coloured spot-lighting and meeting places for people to walk around the carved sculptures. There is also a magic in his use of form and line because it is dramatic and unique. The photo was also taken at dusk, where the lighting is romantic and soft after the sun has set, and this highlights the sense of magic in the air.

Holy Rosary Church Complex, in Louisiana USA, is designed by Trahan Architects (www.trahanarchitects.com) and constructed in 2004. The space magical for it encourages a spiritual connection through the exploration of the light and the use of form. There are intriguing window openings that connect with the space beyond the interior. It captures your imagination as you are focused towards the sources of light.

The Secret House was designed by AGI Architects, in Shuwaikh B, Kuwait 2007-2010 (www.agi-architects.com). This house is a magical house with incredible proportions, form and light, which is used so delicately to create a depth of space. The artificial fog machine pumps out mist into the garden, highlighted by atmospheric colour lighting, which envelops around the building. The mist separates the house from the surrounding urban landscape and creates a fantasy and a mysteriousness that can be described as magic.

Sara Shafiei is an architect that runs Saraben Studios (www.saraben-studios.com). This image is a piece of her work titled, ‘The Magician’s Theatre’. She looked at the themes of illusion and magic, to then incorporate it with architecture. The structure is delicate and the layers of detail create a sense of awe. The light from within suggests that there is activity already happening and, as the viewer, you are transported to the miniature world and encouraged to imagine what is inside.

Setting the scene:
On the left: A power-cut while dinner is served for a group of friends. The contrast between the dark and light is dramatic, the candle-light adds to the sharp contrast of shadows. The focal point is the table, where friends huddle round to eat a warm, intimate dinner. Beyond that, the darkness envelopes, adding to the magic of the warmth coming from the candle-light.
On the right: a snowy winter’s scene in Venice, where the light is falling to dusk. The streets were buzzing with a pre-Christmas cheer, but down this canal, there is a quieter atmosphere, the colours soft and dull from the day’s fading light. Down the street though, light glows from a couple of windows, which draws you in to the magic of Venice.

Elements of a Space

“It is the relationship between these individual and specific elements that will impart atmosphere, personality and disposition”.

(Brooker + Stone, 2007, p.145) *1

My first questions are: why is this the case? And what are the elements that make up a space?

Reading a space

The elements of an interior space are made up by the details within the whole building. These elements include: planes, which are in the form of walls, floors and ceilings. Depending on the positioning, and angle of these, then this can affect the interior atmosphere. Other elements to consider are how to use objects, light, the quality of the air, the acoustics and surface materials, which can provide a focus, and form a connection for the people occupying the space. The placing of windows and doors, and framing the view of the space are important opening details. Why is it important to take the detail of openings into consideration? To allow space to move, connecting with its environment; to filter light and give the space a direction and movement. These elements establish a character within the space and enable people using the space to develop a relationship between themselves and the place.

Case study one

Photographer: Gert von Bassewitz

Architect: Claudio Silvestrin

Why does this interior need elements to make it a contemporary and airy space? Every interior needs a series of elements in order to organise the space and to give it character. The elements are the details of a space that allow us to read a building.  In this interior (pictured below), certain elements are needed to create the atmosphere that it has. For example, the room’s use of openings, frame a view into its surrounding environment, which provides a relationship between places. It allows space to flow and, with windows positioned at different levels, then this creates a contrast of light and shadow. As a result, a sense of depth and volume is established. With little furniture and a natural use of colour, its style appears minimalist, and together with the depth of space, then a contemporary and airy atmosphere is created.

Image source: Dinah Hall, 1998, p.51 *2

Historic case study

Place: Sir John Soane’s Museum, Lincoln Inn Fields, London

1794-1824

The Breakfast Parlour

One of Britain’s greatest architects, Sir John Soane’s own home is an incredible place with many detailed elements. These elements create intrigue and imagination. For example, the first element that strikes you in The Breakfast Parlour is the small dome, which is the main focal point in the room. There has been so much precision over the positioning and construction of it, and perfectly centred. The natural light entering from the dome, highlights the furniture below, making it ideal for its function. It is a small space but Soane also placed round mirrors on the edges of the ceiling and a couple of softer lights to create this floating, almost ethereal atmosphere. The large openings in the space create an easy movement and establishes immediately a relationship with the connecting room. It is Soanes’ attention to these details that all help to create a poetry in his architecture.

Contemporary case study

Qiora store and spa, New York

2001

Architect: Architecture Research Office (ARO)

This store really has a sense of calm, and a floating, light atmosphere. Why was it designed this way? The word Qiora means the light within and it is a skincare store. The aim was to create an atmosphere of tranquility against the hustle and bustle of city life directly outside. Incorporating Qiora’s branding for the light within, the architects (ARO) predominantly used the elements of lighting and fabric to create the atmosphere. Tall, sheer organza veils structure the space from ceiling to floor and create a fluid and delicate movement through-out the shop. These veils also divide the space and provide areas for customers to have treatments and try the products. The sheer fabric still allows for movement to permeate through, keeping an airy space. The customers can sense the whole atmosphere of the shop floor, while relaxing behind the ethereal frame of the fabric.

Artificial lights have been used in the store, but the intensity of the light changes depending on the time of day it is and what the weather is like outside. I think this is fascinating because this can really play with the atmosphere and make it feel warmer or cooler. For example:

”During the day white light illuminates the space while bluer tones are used in the evening to bring out the colour and texture of the space and the veils. At night, from the outside, the store has the appearance of a glowing lantern”.

(Brooker and Stone, 2008, p.169) *3

This is an important aspect of the interior impact because it affects how a customer will feel in that space at a particular time of day. However, it is a positive thing because the designers managed to retain the calm and tranquil atmosphere by controlling these elements to their advantage. They have done this by adding artificial lighting and calculating how they natural light chnages at different times of the day.  A sense of magic is created because the use of lighting changes with the fluidity of movement and makes it a fresh and energised environment.

References

*1 Brooker + Stone, 2007, Form + Structure, AVA Academia, Lausanne, p.145

*2 Dinah Hall, 1998, Country and Modern – contemporary interiors for rural settings, Quadrille, London p.51

*3 Brooker and Stone, 2008, Context + Environment, AVA Academia, Lausanne, p.169