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.

VISITING THE SITE. SOUTHEND-ON-SEA

I decided to visit the East side of England, where the Thames Estuary is getting wider, where there are no connections between two parts of London suburbs, no bridges, no ferries, just huge cargo ships coming from the North Sea. I went to Southend On Sea, seaside resort in Essex, where is the world's longest pleasure pier in the world - Southend Pier. This pier was designed by James Brunlees and opened in 1830. 




















The total length is 2.158 kilometres 1.341 mi (it took about half an hour to walk one way, but there is possible to take a train from the shore to the pier head). 

monday sketches.

BRITISH LAND. STAGE 1

collaboration with Ludmila Bebjakova

In our 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, which are representing the transition through this time change.

Our choice was to employ concrete, bricks and steel, what is 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 our project, we are suggesting a social spot, seating area that offers people passing by to stop, have a break and engage with the art installation, which also serves a practical function.

The benches have not a typical seating position, they have lowered or raised position and they are movable. The work interacts with the public and it 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 surround ourselves in nowadays and exploits the severing of this connection, by removal of the object's function, to application 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 they 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, but interactive at the same time. The choice of the materials is also based on their transitivity, where the steel bench changes the surface by time. On the shinny polished surface, where rain drops mark their way.., day by day, they leave rusty spots after slipping. In the context of 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 can be changed by moving the structures. The project could be situated in various parts of the British Land area.

As an opposition aspect of transformation, we selected the concrete as the second sample, which provides stability or time conservation. There is a certain mystery in guessing the time, when a certain object was made or for how long has been used. In compare with some other architectural materials as bricks, where is easy to recognise the touch of time. Bricks reflect the time on their surface, they carry memories through the lifetime, and while the time passes they change their shape…

love it! THEO JANSEN. TED TV