End of Year Evaluation

And what a year it’s been.

I had mixed feelings about starting my third year in the middle of a global pandemic. Not only was I concerned about the prospect of all learning being online, but I was also nervous about being here in Cardiff coping with the restrictions, considering I had just spent the last six months at home in Cornwall. I am someone who often struggles without a solid routine, so was interested to see how I could manage the incoming workload with all the changing circumstances.

Project Perform

At the start of October our first subject project was launched. It was titled ‘Perform’ and came with the requirements that the space would have to provide refreshments and an area where we could promote performers work. Initially, I was slightly underwhelmed with the host building options we were given, alongside the option to either ignore COVID restrictions or roll with them. After thinking about it for a while, I decided to choose the shipping containers and adhere to COVID regulations. I did this because I saw it as a challenge I could attempt to problem solve, due to the spatial limitations I would be facing with both the containers and the enforcement of social distancing. The whole concept of the project ended up being about a response to COVID-19, celebrating art forms such a installation and performance art that had been largely affected by the pandemic. The space I created allowed them to continue their work in a safe atmosphere that the public could enjoy as well as the performers themselves. Design wise, I loved having the opportunity to use the containers to construct the space and took a huge interest in the architectural aspect of the project. I was really proud of what I had created and felt confident in my ability to push myself in this final year.

Dissertation

The dissertation process was something I had dreaded since my first day of University. Thanks to the pandemic, we now had the challenge of limited online meetings and what I honestly felt was a lack of guidance. Ten minute weekly meetings and five weeks of silence over the Christmas break made it a very stressful process and one that I was happy to see the end of in January on our submission date. On a positive note, my dissertation had been inspired by my involvement in the Women In Property Student Award that took place in March 2020. I researched women’s association with interior spaces yet their absence from a lot of architectural theory. This has resulted in a feminine association with interiors and a masculine association with the exterior (architecture). It also investigated how space has been delegated within the home and how that has developed alongside the equality balance between men and women. I became really invested in my research and felt a passionate connection to what I was writing. Through writing my dissertation, I felt as though I had discovered my purpose as a designer and will continue to use my work to encourage female involvement in design and construction projects.

Project Exposure

My final project at university came in the form of the ‘Exposure’ module. This project was different to the others I had done since being at university because we had the opportunity to chose our own host building. This was a challenge in itself as many people who I contacted never responded or couldn’t get hold of the plans, which meant I couldn’t use that building. Luckily, the building I really wanted to use were able to source the plans for me, and it was located in an area I know very well from home, so was able to complete extensive analysis so I could thrive off the building’s opportunities. I chose to create a ceramic retreat as I really wanted to create warmth and atmosphere in my images which is something I had struggled with in past projects. As it was my final project at university, I wanted to show that I was capable of designing successful, living, working and event spaces that were accessible to all people and this building and brief gave me the opportunity to do that.

Another part of the exposure module was to submit a ten page presentation that would be known as our Professional Practise. This module allowed me to think about what I want after I graduate and through the creation of my CV, think about what area of design I would like to learn more about. A part of this presentation was our stated exit strategy, which I personally really struggled with as I honestly have no idea what this next step of life has in store for me. I do know that I am keen to gain so much more experience within working design studios and getting hands on with local projects back home in Cornwall. Initially I had planned to go to Australia after I graduate and gain experience out there as it is a place I particularly love and used to live when I was little. I still plan to do this eventually when COVID allows it, but in the mean time I am focussed on gaining as much experience as I can here in the UK.

Final Statement

This year was not an easy one, and brought with it lots of hurdles to overcome. Motivation was difficult to maintain without the face to face contact of my course mates and lecturers and I was sad that my final year at university would be experienced like this. Despite these challenges, I was proud of how I engaged and threw myself into every one of my projects this year. I was determined to leave university feeling as though I had left nothing behind and made the most of the last three years, utilizing every lesson I had learned. As I continue on my design journey, I will forever be grateful for the confidence that this course has given me and I will use this confidence to go on and design inspiring spaces for everyone to enjoy.

Exposure: End of Project Evaluation

Overview

On reflection, I feel as though my final design fulfilled the requirements of the brief whilst also celebrating the ceramic heritage of the original host building. The key moves I made improved the overall circulation of the building and made it accessible to wheelchair users, thus allowing more people in. The colour and texture palettes I chose are reflective of both the beautiful Cornish surroundings and the versatility of ceramics, creating a warm, calming atmosphere for those coming in to participate in workshops.

Challenges

At the start of the project, it took me a while to understand the dimensions of the building. This was because we got to choose our own building, and unfortunately the owners to the building I chose only had floor plans and not elevations. This made getting exact measurements difficult as due to COVID I could not go into the property. I did the best I could to try and take measurements from the building exterior but it also didn’t help that it’s mounted onto a cliffside. Despite these challenges, I was determined on using the building and continued to work hard so that I could create an accurate SketchUp model.

Another challenge was having to make a structural model of the building at home without the university’s resources. Luckily, I was able to attack my Mum’s craft cupboard and eventually found some bits of card I could use. Making the model actually turned out to be a really satisfying and enjoyable process, one that I would definitely do again in the future.

What Would I Do Differently?

If I could do the project again, I would spend more time on the First Floor Terrace. This is because I wasn’t able to take advantage of all it’s opportunities and due to my (sometimes poor) time management skills it was left a bit neglected. At the start of the project, I had big plans for the terrace and wanted to include a firepit feature that imitated the shape of an old traditional kiln, but as time went on, it just became less of a priority. I would also have tried to create some kind of cover for the terrace maybe in the form of a pergola, so that the space was more versatile and be used in all weathers.

Another thing I would do differently is design the ground floor foyer/entrance in more detail. That again was perhaps a bit of an afterthought that I didn’t prioritise at the time, but it is actually a very important space as it is the first area the public see when they walk in to the building. I would have liked to create some kind of textural feature in that space in order to create a real wow factor on entry.

Final Remarks

Overall I am really proud of the project I submitted and what I managed to achieve whilst creating it. I am glad that I challenged myself by creating the multifunctional pottery units, as I think they’re a really strong asset to the space by encouraging full inclusivity. I think the visuals I produced were my most successful since being at university, as I have always struggled with being able to show atmosphere and warmth which is captured in those of the studio and bar space. Despite there being some stressful times (as there is with every project), I am glad that I pushed myself and managed to enjoy almost every moment of the design process.

Final Visuals

Perspective View of The Bar/ Gallery

Perspective of Ground Floor Pottery Studio

Washing Up Space in Pottery Studio

Pottery Studio Visual

Apartment Living Space

Bedroom

Bathroom

Exposure: Communication Review

Working on Inclusivity and Accessibility

One of the key values of The Leach Pottery charity was inclusivity and getting everyone involved in ceramics. I tried to keep this at the forefront of my mind whilst designing, making sure any changes I made to the building, improved it’s potential to be a fully accessible space. This influenced my additions to the ceramic studio and also my key moves.

Key Moves

This building was a challenge from the start, but I wanted to continue to problem solve and make it work as it fits the concept so perfectly. One of the issues was that it is grade II listed, which meant that the changes I could make were limited and anything I’d want to do would have to have a valid reason. The obvious thing I needed to introduce was a lift. Due to the building’s position on the cliffside, it would be an expensive installation as the lift would have to be fitted into the landscape. Despite this, I feel so passionate about it being a human right to be able to access every part of the building and that people in wheelchairs shouldn’t feel as though they can’t go somewhere because of lack of access, so the addition of a lift was my first key move.

Key Moves: The Addition of a Hydraulic Lift

Another key move I needed to do was to add toilets to the first floor. In the original plans of the building, toilets were only located on the ground floor and the second floor and with no lift, it meant that toilets could only be accessed via stairs. With the new design of the first floor being a bar/gallery space, toilets on the same floor are a necessity, making this my next key move.

Multifunctional Pottery Unit

Continuing on from the theme of inclusivity, I wanted to design a throwing unit that can be used by all people, providing a sense of equality throughout the studio. The unit consists of many adjustable elements so that optimal comfort can be felt by the user. These elements can be seen in the diagrams below:

Multifunctional Pottery Unit

Multifunctional Pottery Unit II

Exposure: Scheme Review

The next thing to do was to come up with a successful design scheme that could allow for a beautiful yet functional ceramic retreat. I knew I wanted to incorporate the colours of the Cornish coastline in subtle way, whilst also incorporating the textures and tactile qualities of the clay and ceramics. I personally don’t have much experience with ceramics but it is something I have always wanted to try. Because of this, finding a good precedent study was vital in order for me to fully understand how a pottery studio is run and what equipment I would need.

Precedent Study – Loam Studio

Loam is a contemporary ceramics studio that is located in Hampshire and run by Jack Allum. The studio functions within a converted barn and offers a variety of pottery throwing classes, whilst also providing memberships for part-time potters needing access to an open studio. The space also used for Jack to sell his own work, which is often created in the form of functional stoneware items that can be used in the home. I found out about Loam after my sister took part in a course there, which led me to contact Jack directly for information about the space. This was so helpful as his studio has a similar square meterage to the space I had to work with which I originally had concerns about it being too small.

Design Inspiration – Locke Hotels

The Locke Hotels are located in cities such as, London, Manchester, Edinburgh, Dublin and Munich. The spaces they provide are recognised as aparthotels, which they define as a space where, “serviced apartment meets boutique hotel.” Their design ethos is based upon flexibility, ease and comfort, in which the user can enjoy a new space whilst also feeling completely at home. I was particularly drawn to the design of the Whitworth Locke Hotel in Manchester, as the building itself is an old 19th century cotton factory and it’s industrial roots are reflected within the design, which is softened with neutral tones.

Design Inspiration – Locke Hotels

Further Design Inspiration and Colour Palettes

Design wise, I wanted to take a simplistic yet comfortable approach to the spaces – especially the private apartment. The bar/ gallery space and the ceramic studio will have a more cohesive design scheme as those are the spaces that will be accessed by the public. The apartment will be a bit more colourful and quirky, using the same colour palette as the downstairs with a slightly higher saturation.

Moodboards

Ceramic Studio Moodboard

Colour Palette

Textures

Lighting

Collage of Design Ideas for Throwing Room

Exposure: Concept Review

For my final university project, I will be redesigning the old China Clay Store building located in Porthleven Harbour. The client I have in mind is the Leach Pottery charity that was founded in 1920 by Bernard Leach and Shoji Hamada. The charity has become one of the most influential studio potteries in the world due to their key values of both inclusivity and exchange. In 2008, The Leach Pottery reopened it’s studio doors to offer workshop sessions, whilst also providing space for both a shop and a museum. The charity are strong believers in the benefits of clay and creativity and how they contribute to general wellbeing and positive mental health.

The Concept

In order to celebrate their 100 year anniversary, I will creating a ceramic retreat within the old China Clay store building in Porthleven. The building’s history and it’s original use as a holding for clay that would exported from the harbour, makes it the perfect place to host this retreat.

The retreat will consist of a full studio (throwing room and glazing room), a bar and gallery area that can be used to display work and host events, and a private apartment where guest ceramicists can stay whilst they’re running sessions in the workshop. The retreat will offer a selection of courses for the public to take part in, whilst also being available for practising ceramicists to book for their own use.

Decisions Made From Host Building Analysis

Before doing some extensive analysis of the area, I was pretty sure on having a cafe/eatery space within the building that could be accessible to the public. I eventually decided against this due to the amount of pubs and restaurants that already surround the building, so I decided that food can be sourced externally from a local place so that the retreat is contributing back to the local community. This meant I could save space inside the building as I wouldn’t need a kitchen, instead I could just create an event space that has a bar to keep those ceramicists nice and refreshed.

Delegating Spaces For Zoned Plans

After getting together an accommodation schedule and playing around with bubble diagrams, I created a loosely zoned plan that I was happy with and would use as the basis of my design going forward. The delegated spaces would be as follows:

Ground Floor Zoned Plan

First Floor Zoned Plan

Second Floor Zoned Plan

Reflective Dissertation Statement

Throughout this level 6 contribution module, I feel as though my abilities in being both selective and critical have vastly improved since writing my proposal at the end of level 5. This has been allowed to develop through the extensive research I have collected around my dissertation topic, whilst also amending my initial point of enquiry. Because of this, I have been able to be more specific whilst researching the subject, in the hope that I may successfully deliver an established argument regarding an issue I feel strongly about. I have learnt that being selective is absolutely vital in the process of collecting evidence. This is so the reader is able to fully understand the claims being made whilst being able to coherently follow a compelling discussion.

At the end of level 5 when I submitted my dissertation proposal, I felt confident that it would provide me with the foundations to continue and expand my discussion into the level 6 contribution module. It wasn’t until my first tutorial in October, that I was advised against conducting my investigation in the way I had stated in my proposal, which would follow the format of individually discussing, gender, domesticity and architecture and then concluding their relationships with one another. At the time, I was frustrated with this advice, as I felt as though the efforts I had put into my proposal had essentially been for nothing. On reflection, despite this initial grudge, I am very glad I received the advice that I did, as it allowed me to be more specific with my point of enquiry and thus write a stronger and more concise dissertation. My discussion would still incorporate the effects of gender, domesticity and architecture, but they would be addressed in four different chapters. These chapters would explore these key themes in a way that closely associates them with my subject practise of interior design. The transition from a strict Victorian house plan to a more open plan layout in the twentieth century would be analysed alongside the nature of gender within architectural form, in order to understand the burden of sexuality on both domesticity and architecture. This was a much better way to approach my investigation than what I wanted to do initially. I think that when planning your dissertation, it is easy to become stubborn with your topic and therefore think you have the whole thing sussed; when in reality, it is inevitable that changes will have to be made in order for the work to progress. Personally, I struggle sometimes with the development process, as I often get caught up in an idea very early on and decide that’s the path I’m going to take. In retrospect, I have learnt to trust in the development process and be more accepting of criticism, as in doing so it will only improve my abilities as a critical writer.

Not only do I feel as though constellation has improved my general writing skills, but it has also guided me, alongside my subject practise, to find my purpose as a designer. Throughout both my level 4 and level 5 constellation modules, I found so many things that were of interest to me, which was often reflected in my writing as I would try and cover too many topics in one essay without going into proper depth about a specific one and therefore produce weak arguments. Through the process of writing and planning my dissertation, I was able to focus on an issue that I believe is still relevant and I found that the more I researched the issue, the more passionate I became about it.

The issue I am discussing is the idea that architectural design is a masculine subject, whilst interior design is often associated with the feminine. My initial interest in this topic came from me noticing a stark gender imbalance between male and female students on both these courses at CSAD. Despite this initial interest, I knew I also wanted to investigate how the layout of the home often encouraged separate living between male and female inhabitants, so this became my primary focus in the dissertation, but I was also able to relate it back to the gender delegation within architectural form. By investigating these topics, I could understand that the female relationship with the home resulted in their presentation as a decorator, thus allowing her association with Interior Design. I was also able to discover that architectural theory was heavily inspired by the male figure which meant that architecture became associated with the masculine. My interest for this subject was also inspired by my involvement with the Women In Property (WIP) organisation, who campaign to get more women recognised and involved in the construction sector. Despite me being an Interior Design student, I believe our course is heavily based on interior architecture as we often deal with the building structures themselves. This was shown within my level 6 subject project in which I constructed and designed a performance/gallery space created of shipping containers alone. This level 6 contribution module has allowed me to channel my passions and interests into a dissertation, thus solidifying my purpose as a designer to encourage the idea that Interior Design is not simply the addition of a few cushions and a lick of paint.

To conclude, I believe the importance of this level 6 contribution module can not be understated. It has allowed me to reflect on both my subject practise and my personal opinions about the world and bring them together to create a cause that I feel passionate about, and will go on to inspire any projects I am involved in once I have left university. This module has encouraged me to challenge my thoughts on particular topics whilst also embracing the opportunity to self-reflect and improve my abilities as a critical thinker. It has taught me that although I have nearly completed university, there is still so much more out there for me to learn, experience and be interested in, so that I may be continuously developing as a designer.

Perform: End of Project Evaluation

On reflection, I was really proud of what I was able to produce within this project. Not only do I feel as though my work was my best since being at university, I feel as though my attitude and contribution to the project had improved considerably since my end of second year project. After receiving my subject project mark at the end of year 2, I felt quite strongly that I had let myself down. I had done this by not engaging in both lectures and tutorials which had been quite clearly reflected in the standard of my work. For this project I was determined to fully engage in all lectures, tutorials and online sessions and ask for help and communicate with both my main lecturer and technical demonstrator when I came across a problem or hit a creative, ‘wall’. By doing this, I was able to remain focused on the project and positively approach any troubles or blocks I had along the way.

I also felt that my technical skills on both SketchUp and Vray improved during this project. This surprised me, as I thought that with the lack of face-to-face contact, and the majority of our course being taught online, that my skills in that department would fall behind. Again, I think it was because of my engagement and attitude change, that I watched more tutorials on both these programs than I ever had before (and probably asked more questions than ever to our poor TD). I also overcame my fear of using lighting on Vray, which made a ginormous difference to the visuals I produced, giving some of them a real sense of atmosphere.

Although I probably enjoyed this project the most, I think I struggled the most with it too. I found at times, my concept quite difficult to work with, as it was hard to be specific about what performance and installations would be going in each section. I also found it challenging to adhere to COVID-19 regulations, but because it is a real-life scenario, it was even more rewarding when I was able to implicate those things and get them right, such as the one-way system on the ground floor.

If I could do this project again, one of the things I would change is the accessibility to the second floor. Currently it can only be accessed via the lift, but I understand now for health and safety reasons, there should be and exit somewhere in the form of stairs, just encase a fire happens for example, when it is recommended to not get in a lift. I would also change the layout within the bar, as this is the area I struggled with the most. This is because it is the area in which COVID-19 regulations are most important, as people will sit and drink there, meaning a higher risk of passing the virus around. By spreading the seating out and adding partitions, the space became very separated and hard to capture in a visual alone, (hence why there aren’t really any).

Despite this, I feel as though I have developed my own style and attitude as a designer. I felt in this project I learnt how to problem solve, and overcome barriers which in fact, made the project more exciting and rewarding. I created an appropriate space, which successfully responds to the brief, by creating an exciting, innovating and most importantly safe space, to be enjoyed during these uncertain times.

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Embracing The Box – Perform

Perform: Scheme Review

Finalised Structure

My final structural idea consists of three floors, created by shipping containers alone. The ground floor and second floor is where I would like the performance and display areas to be located and the first floor, (in between the two), will be used as an open terrace area where the bar and seating will be located. A vertical shipping container will be used as a lift shaft to ensure access to all three floors. This will be located in the back left of the building, to maximise space across all floors for other activities. I decided to add external stairs on each side of the building. One would be used as the entrance to the first floor, whereas the other would be used as the exit. This is to implement a safe, one-way system due to COVID-19. A bridge between the container perpendicular to the lift on the second floor, has been added to connect this space to the performance/display area.

Final Structural Idea

Zoned Plans

After I had finalised the structure, it was important to start mapping out areas in which I wanted specific things to be located. By the help of several bubble diagrams, I was able to come to the decision that I wanted the toilets to be located outside the main building, in a separate space just outside. This is because the containers have limited space and by putting toilets inside it takes up even more than that. In a time where COVID regulations state a 2m distance must be upheld, maximising interior space is vital, meaning facilities such as toilets if can be moved out of the main building, should be.

Zoned Plans

From the zoned plans above, you can see I have clearly decided where I would like the main entrance on the ground floor to be located. This makes most sense, as is away from both the entrance and exit points of the external stairs, making it a less populated space than others in the building. The same goes for the bar area on the first floor. I’m sure there will be changes to these plans as I design further, but for now they are a good guidance point for where I want certain areas to be located.

Design Ideas – What’s Inside the Box?

Now that I knew I wanted my building to host both performance and installation artists, I started to research those already experts in the field, to get some inspiration of what could go inside the containers. I first looked to Tracey Emin, and her work, ‘My Bed’. This is because restriction for a lot of us this year, was represented by our bedrooms, which became our offices, classrooms and places of work. It was an idea of mine that I could potentially recreate something like this in one of the containers.

https://www.christies.com/lotfinder/Lot/tracey-emin-b-1963-my-bed-5813479-details.aspx

Another idea that I had was to have a performance artist inside a box tied to physical restraints. These restraints, (maybe cloth or strips of material), would have enough give to allow the performer to move around but not enough for them to leave the actual space. This is to imitate the restrictions we endured during lockdown, in being able to do what we want inside our home, but not leave it.

I struggled with this idea initially, as when I began to make collages and show the idea, it looked very dark and sinister which is not what I wanted it to be. Adding spot lights and softening the colours helped, but I still wasn’t 100% happy with. It is something I will have to work on further.

Style Mood Board

Once I had dealt with some of the main fundamentals of the project, I was able to move on to the exciting bit – a design mood board! I had a lot of ideas about what colour and texture schemes I wanted to use for this project and how I wanted to celebrate the industrial shipping container, instead of trying to hide it. This idea became cemented after watching a really interesting presentation on the general views on shipping containers in architecture and how they have become a part of modern urban life. I decided I wanted to embrace the container and it’s qualities, not only because of the aesthetic appreciation for them, but because it goes along with my whole concept of embracing this sense of restriction.

As you can see from my style mood board, I wanted to reflect the industrial qualities of the container by using a dark petrol blue colour, paired with exposed metal structural elements and lighting. The area will be warmed by neutral pinks and terracotta’s, in order to provide a quirky yet comfortable space.

Perform: Concept Review

In order to remain focused on the specifics of my brief, I decided that choosing a client would help direct my design to be suited for a real life scenario. After doing some research, I found out about a company called tactileBOSCH. They are a creative collective based in Cardiff, who provide spaces for local installation and performance artists to put on collaborative and immersive events. I have always found installation art particularly interesting and had always classed it as a form of performance, as it is something that needs to be physically experienced – it requires an audience, even if that audience consists of just one person.

Now that I had some sort of idea of what I want to create inside my space, I began looking into some other shipping container precedents that could inspire me on how to construct and design a building myself.

Goodman Westlink Marketing Suite, Hong Kong

The Goodman Westlink Marketing Suite is located in Hong Kong’s Tuen mun district. It was designed and constructed by the company, ‘A Work of Substance’, in which shipping containers were used as a celebrator of sustainable architecture. I particularly liked the contrast between the soft, warm interiors, compared to the harsh, rigid structure of the containers, which together created a kind of balance, imitating it’s natural surroundings.

https://www.designboom.com/architecture/a-work-of-substance-shipping-containers-marketing-suite-hong-kong-12-17-2019/

https://www.designboom.com/architecture/a-work-of-substance-shipping-containers-marketing-suite-hong-kong-12-17-2019/

Wahaca Southbank, London

This Wahaca restaurant is located alongside London’s Southbank Centre, next to the river Thames. It is made from eight recycled shipping containers, arranged on two overhanging levels. It is designed with sustainability as it’s main focus, with the majority of the design elements inside being created by upcycled materials. I was impressed by their dedication to minimalizing energy usage, in which they became the UK’s first carbon neutral restaurant group in 2016.

https://www.dezeen.com/2012/07/10/the-wahaca-southbank-experiment-by-softroom/

Structure

The next hurdle to overcome was to come up with a structure that would allow for a big enough space inside in order to adhere to COVID-19 guidance. After researching both my precedent studies, I knew that I wanted the structure to be modular, but include some areas that were created by the negative space of overhanging containers. This way, spaces like terraces and partially outdoor spaces will naturally emerge from the dynamic structure. After doing some initial sketches, I was able to finalise some ideas and come up with some ideal structures. These can be seen in the images below.

Initial Sketches

The Finalised Concept

Now that I was a bit more confident about the structures I had to work with, I could start finalising the concept I had in mind for what would take place inside the building. I would like to use my building to show the impact of the social, physical and mental restrictions, that we have all experienced during this time. These ‘restrictions’, will be shown through a mix of both performance and installation art, providing interactive spaces that individuals can walk through. Feelings of restriction can be enhanced by interior dynamics, such as access to light and material choice. As we all know, the art and performance industry has been heavily damaged by the pandemic, so not only does this space provide opportunities for creatives to safely display their work, but also a chance for people to reflect on their own experiences during this unprecedented time.

Year 3 Final Major Project ‘Perform’: Introduction to Project

For our first final major project of year three, we were given the title, ‘Perform’. Initially, I was rather hesitant as I knew that the global pandemic had largely affected the performance industry and I knew that COVID-19 guidelines could potentially make designing a space for this activity more difficult than usual. Alongside the title, we were given the words, ‘refresh’, and ‘promote’, meaning a bar and a display area would have to be included somewhere within the building. The brief itself was left for us to decide once we had selected our chosen host building.

The host space I decided to go with was, ‘The Bone Yard’, a site located in Canton, Cardiff, in which small businesses market their goods within shipping containers. At first I was negative about the use of shipping containers as they are relatively small and require a lot of work in order to become a working and functioning space. Despite this, I was intrigued by their modular form and how internal volumes could be increased by either stacking them above one another or placing them alongside each other. They can also be rotated so that they stand vertically – again increasing the height of the space. Basically, I came to the realisation that they can actually be very versatile and I was excited to begin stacking and playing with them and seeing what could be done.

Quite early on after receiving the project title, I began researching ways in which certain design aspects have now changed in order to contribute to the prevention of spreading coronavirus. I read a really interesting article from WGSN called, ‘Healthy Walls & Floors’, which went into great detail about materials, floor guidance and the use of partitions and dividers. With this project we were given the choice whether to adhere to COVID-19 regulations or ignore them. After reading the WGSN I was determined to not only follow the guidance given but embrace it. At this point it is clear that life isn’t going back to normal any time soon, so I thought I would try and play on these regulations and somehow turn them into a new ‘normal’, in which the arts can still be enjoyed. After coming to this conclusion, I was able to write my brief which follows:

‘In this project, I will be creating a multifunctional space that provides individuals with areas in which they can, perform, refresh and promote their work.

The space will be constructed by shipping containers alone, celebrating their modular, industrial and diverse qualities.

I intent to keep COVID-19 guidance at the forefront of my mind whilst designing. This means that the space will be safe to use for both the performers and the public. The space will play on the word, ‘restriction’, as it is a feeling we can all relate to after the events of the past year. Instead of thinking negatively about how the pandemic has affected the performance industry, I will use this opportunity to show a new way of enjoying performance, that has not been experienced before.’