MODELING.

COLLAGES!

SEABASED WAVE POWER GENERATOR

Seabased's wave power technology utilizes the water motion in waves to directly drive the wave power plants. The active element is a unique directly driven permanent magnet linear generator. The generator is specially designed to take advantage of the slow movement of the waves that is transferred to it via a buoy (point absorber) on the ocean surface.The buoy action is transferred directly to the generator with no intermediate mechanical gearing since the generator is optimized to output high power even at slow speeds.The movement of the waves (about 15 wave cycles/min) causes the translator (corresponding to the swiftly turning rotor of a conventional generator) to move up and down within the stator, thus converting the kinetic energy of the wave to electric energy. Very powerful neodymium-iron-boron magnets are mounted on the translator. They create an alternating magnetic field which penetrates the stator windings. The stroke length of the translator is limited by end stops at the top and bottom.

MODELING. EXPLORING THE ANCHORING

HORNIMAN MUSEUM

VISITING HORNIMAN MUSEUM

Victorian tea trader, collector and public benefactor Frederick John Horniman began collecting specimens and artefacts from around the World in the 1860's. Horniman's key mission was to bring the world to Forest Hill and he opened part of his family house to the public so they could view the riches he had collected. As the collections increased they outgrew the family home and in 1898 Horniman commissioned Charles Harrison Townsend to design a new Museum.

The original collections comprised natural history specimens, cultural artefacts and musical instruments. 

VISITING THE SITE. CANVEY ISLAND

Canvey Island is an Island lying off the South Coast of Essex in the Thames Estuary, England. The Island is about 3 meters below sea level and periodical flooding continued to blight the small population. The island was mainly agricultural land until the 20th century when it became the fastest growing seaside resort in Britain. 

THE END OF UNIT 1.

VISITING THE SITE. TILBURY

Tilbury is a town in Essex (east part of England) with a population of 12091 people. The location has been a communication link, as the town is next to the Thames river: a cross-river ferry was connected with a town from another side of the river - Gravesend from very early times. The Port of Tilbury is still the main UK port for importing paper, including newsprint and handles a variety of bulk cargo, timber, cars and container traffic. 

MODELING. IDEA - CULTURAL BRIDGE - THREE PAVILIONS

OSCAR WILDE - SYMPHONY IN YELLOW

An omnibus across the bridge
Crawls like a yellow butterfly,
And, here and there, a passer-by
Shows like a little restless midge.

Big barges full of yellow hay
Are moored against the shadowy wharf,
And, like a yellow silken scarf,
The thick fog hangs along the quay.

The yellow leaves begin to fade
And flutter from the Temple elms,
And at my feet the pale green Thames
Lies like a rod of rippled jade.

SENCE OF PROVOCATION. BELA TARR - WERCKMEISTER HARMONIES

The idea of provocation in my project is more linked to the unpredictability of the object’s appearance. The issue is the reaction caused by unexpectedness: flouting structure each time, emerging in different points of the land. The actual “body”, as you see it from outside does not always tell us what you can expect inside, especially when the object or the “body” appears suddenly without any announcements. In the movie “Werckmeister Harmonies“ directed by Hungarian film director Bela Tarr in 2000, the idea of unpredictability is very similar to that, which I would like to express in my work. The appearance of the circus trailer with a stuffed carcass of a whale in the middle of the small town disturbs the normal life of the local people. The presence of strangers causes tension and changes in the relationship between villagers. Some of them remain uncertain while some demonstrate destructive emotions, as the mysterious situation creates a view of ‘another world’. Inner changes in society provoke people to react, however the outcome can be always different. 

COLLAGES!

BRITISH LAND. STAGE 3

collaboration with Ludmila Bebjakova 

We made a research on Regent’s Place: we were interested how the area looked in the past, what types of buildings were occupying the region. We found out that the material that we want to use for our project was the most frequently used for construction of residential properties before it became home to several offices and commercial spaces.

“The Euston Road corridor has a significant role to play in the historic and future development of Regent’s Place. Originally known as ‘New Road’, it ran at right angles to the main boundaries of the estates through which it passed. The road’s isolation from its surroundings survived into the 19^th century and remained until well into the 20^th century. In particular, when housing development moved north of the road with the laying-out of Regent’s park and Euston Square c.1810, the grain of development remained strongly north/south, rather than east/west along the line of the route. The development of the estates flanking the New Road was concentrated in the London housing boom of c.1815-1830

To the north lies the Regent’s Park Estate an almost entirely residential area, developed in the 1960’s. To the west is a triangular city space defined by Albany Street, Longford Street and Osnaburgh Street. Within this space lie three listed buildings, namely the Holy Trinity Church designed by Sir John Soane, Great Portland street Underground Station and The White House Hotel.”*

This is one of the reasons why we would like to bring the memory back to demonstrate the drifting of these objects into the previous time passages.

* Regent's Place, Osnabourgh Street, Public Exhibition, 2004, Printed by British Land

MODELS FOR BRITISH LAND

The contemporary time is very unstable; it changes from one element to the other. The traditional materials used in architecture are changing their conventional way of operations. For this reason, we would like to expose concrete, bricks, and steel as components in such of modern architectural surrounding as Euston area. It would be in one way reversed and less practical, however would become far more exciting and interactive.

We have also considered the transitional potential of the materials. For example, the shiny surface of a steel bench, exposed to weathering elements, could become dull and rusty, loosing its sparkle. We decided to ‘preserve this moment’ and for that reason we have chosen to use galvanized steel which will protect the surface from getting rusted and damaged.

Taking of another element of transformation, we decided to select the concrete as the second sample,providing stability and time conservation. There is, for many, a natural intrigue in guessing the time; when a certain object was made or for how long has been. This comes as a welcome change in such a time of often predictable and generic modern building and architecture. Bricks are able to tell the time on their surface carrying memories through a lifetime, and with the passing of time the changing of shape.

BRITISH LAND. STAGE 2

collaboration with Ludmila Bebjakova

‘THE BENCHES ON WHEELS’

For this project we are interested in the flow of the habitual materials of the past into a modern time used in architecture. We are juxtaposing three forms and three different materials representing the transition through this time change.

Our choice was to employ concrete, bricks and steel - the traditional architectural material commonly used in masonry construction.

We proposed three benches on wheels that are movable.

The benches are shaped to some kind of panels or walls, what metaphorically brings the idea of some protection.

In this project, we are suggesting a focal point; a seating area offering passers-by the opportunity to pause and engage with the art installation, also serving a practical function they have lowered or raised position and they are movable. The work interacts with the public and also shifts the sense of fellowship. This spatial sculpture metaphorically transforms the idea of domesticity into the public.

The concept of the work reflects contemporary design and architecture, but furthermore awareness of the intrinsically human-scaled design of the objects with which we are surrounded. It exploits the severing of this connection by removal of the object's function, presenting it in a different context.

The contemporary time is very unstable; it changes from one element to the other. The traditional materials used in architecture are changing their conventional way of operations. For this reason, we would like to expose concrete, bricks, and steel as components in such of modern architectural surrounding as Euston area. It would be in one way reversed and less practical, however would become far more exciting and interactive.

We have also considered the transitional potential of the materials. For example, the shiny surface of a steel bench, exposed to weathering elements, will soon become dull and rusty, loosing its sparkle. Thinking about the transition of time and physical mobility explored in design, we illustrated the benches with castors. There is a possibility that their position, or the place/area, could be changed by moving the structures, and the project could be situated in various parts of the British Land area.

Taking another element of transformation, we decided to select the concrete as the second sample, providing stability and time conservation. There is, for many, a natural intrigue in guessing the time; when a certain object was made or for how long has been. This comes as a welcome change in such a time of often predictable and generic modern building and architecture. Bricks are able to tell the time on their surface carrying memories through a lifetime, and with the passing of time the changing of shape.

In the second stage, whilst we were making models - samples of the forms, we were re-designing proposals of various possibilities, in which we established the concrete techniques and patterns, and also the final details of their look.

It was an interesting experience going through the process of making, as the forms achieved characteristic outcome. For example: designing the shape on 2d sheet, where the technical aspect is unclear and it requires the practical side, also from when they are moulds, and afterwards, when they are set as an arrangement in a specific place.

Furthermore, what we consider as the main target would be the interaction of

‘The benches on wheels’ with the public (the viewers), who could experience the sculpture, the bench in a realistic approach. It’s interesting that benches, if situated in a particular area or position, can evoke feelings of comfort and almost safety. Many of us have favorite locations in which we can take a break from this fast paced society in which we live, and it is often the simple things that are taken for granted. Of course the significance of the wheels on a bench cannot be ignored; whilst, as said above, the location of a bench can be important, it’s especially interesting to create this feeling of freedom and fluidity, creating something different and perhaps fun without interrupting the practical purpose and design and without being overstated or pretentious.

We all use benches, most of us everyday – and how often do we stop to notice anything about them - even the plaque, or commemorative inscription? In this project, we were particularly keen to explore the concept of taking something very ordinary and making it extraordinary. Especially in this modern time, when artists are going from strength to strength and technology has never been better, art is becoming increasingly neglected and overlooked.

For people otherwise overlooked by the artistic community, the benches could provide a portal into a new experience of art, with their accessible and familiarity – an everyday object with a twist. If we could expand on this idea, exploring materials and designs that are a little different, however still reminiscent of more familiar objects, we could promote art to a culture that is currently preoccupied with anything and everything else.

RESEARCHING THE MUSSELS

According to The Zoological Society of London, the Thames river was invaded by Zebra Mussels (Dreissena polymorpha) during the early 18th century. These high abundances affect other wildlife by using up space for attachment needed by native species, and even colonising the shells of other species, which affects their ability to feed and burrow. Zebra mussels superficially resemble marine mussels in the family Mytilidae, and like them, are attached to solid substrates with a byssus. This species was first discovered in Western Europe during the 1980’s. Known as the ‘good luck clam’ in Southeast Asia, they are capable of self-fertilisation and release 2000 juveniles each per day! 

modelling. structure made by particular lump of mussels. the essence is the possibility of transformation.

BRITISH LAND - PROCESS.

We just finished our model of metal and now we are working on concrete one! Workshops!! 

GROUP WORKSHOP - THEME - STUDENTS FEES&CUTS

Many students cannot pay so much money for education, so they are forced to find their way to pay. We made a maze (in the Parade Ground at Chelsea), which is like a symbol of difficulties, wandering, trying to find a way out from high fees, escape from the barriers, which government just set up for all students. There is a way out – always – but not everyone can afford that – “because my daddy can’t pay”. (Quote from the student protest sign)
TEAM: YUMI,MEL,DA-YEA,HYUNSUK,LUDA & ME 

CREATING A SHAPE.

When i visited Southend-on-sea shore, i noticed that around the pier there are lots of mussels, which are sticked on some piece of timber and other pier constructions. At the bottom of the river, where the level of water is very low, mussels stick together in a shape of the sphere, meanwhile, next to the mussel lumps, you can notice plenty of them which lie separate and from time to time stick to each other to create a bigger structure. This is a natural transformation of forms, which are the great inspiration for my work.