Studio Work – Amy Ma

Sensory map work

I drew on from my inspiration of the sensory map by Kat McLean mentioned in my blog here: https://amyma.myblog.arts.ac.uk/2023/03/16/why-sensory-design/

From this, I took upon myself to draw up some spice and herb maps of Deptford by analysing the location of all the restaurant in Deptford and noting down what spices they each used in their cuisines. For example, a Caribbean restaurant that had jerk chicken on their menu, through research, would use the spices of paprika, cumin, all spice etc. This was then visualised on a map illustration. I focused on 11 spices, and individually extracted their shape, to map my own spice pods. A very literal representation.

My own experimentation: analysing spices used in Deptford restaurants

This went on to shape my spice pods, creating organic forms, that people can dine inside and spices can hydroponically grow within the biomes.

Design process & development

My initial design process starts with observations from the site, and I can depict and decipher the features and personality of Deptford through this. This involves going through photographs and picking out patterns that stand out to me, then drawing this on paper, extracting each scene and linking them together. Finding the connections this way allows me to visibly see what I can focus on in my projects that is a feature of Deptford. I noticed there was a pattern of many restaurants and food stalls of various types of cultures that existed in Deptford. Jerk chicken linking to the Caribbean demographic in Deptford, Pho and chinese with links to the asian culture. This was a feature that made Deptford so colourful and rich to me, which is something I want to extrapolate and explore further.

A mindmap collates all my ideas and keywords I have to consider for my project. It reminds me I have to encompass all these key elements in my design, and the function will follow. It also strengthens the purpose and allows me to design with purpose/intent. It hones in my ideas, and allows me to expand on them and create new branches which enhances my design. For example, growing mediums is a feature I have to consider to grow fresh produce, and I can explore the types of growing mediums in this mind map. The ones with more depth and branches is a clear indicator of the one I should explore.

Developing these sketches is an evolution from my initial observations, mindmaps and conceptual sketches. I realised I have to simplify the idea to fit the criteria of the pop-up so I minimized the form to a circle, and focused my design in the interior. Sketching shapes, I was drawn to the organic form and began drawing curved lines. The circle reminded me of the cycle of food: growing, eating, composting, re-growth. I then began to sketch the function inside. To add complexity to the structure, I sketched exterior ideas and naturally began drawing these organic columns. This visual instinctively shouted out the word “Cultivator” to me. The connotations of food growing and agriculture, created the link. I then googled and found it was a machinery with teeth, which resembled the columns I drew. I then re-worked the columns to look similar to a cultivator. The exploration of sketching allowed me to stumble upon new ideas and trust my instincts when I was having a creative block.

“Don’t think, just do”
Top Gun, Maverick

This then lead me to technical drawings, before I could construct my model. I did this simultaneously as this was a great way to see how I could work my design to scale realistically. Technical drawings in AutoCAD always allows flexibility in my decisions before I finalize them and I can visualise more easily how my space will function. It requires problem solving, and a lot of adjustments, but I still find it a great way for me to come up with a design that delivers my purpose.

Project 4 Material Objects Reflection

For this project we were tasked to explore materials on a one-to-one scale that will help us investigate and understand the physicality and substance of an imagined interior from our overall projects. It will also help us convey our ideas to a tangible affect. Touch, scent and visuals are all key to how a user experiences an interior environment and after reading ‘The Eyes of the Skin: Architecture and the Senses’, I understood the significance of it and this project helped emphasise the importance of these roles. It allowed me to see how my previous projects could exist in reality, on our plane.

“A remarkable factor in the experience of enveloping spatiality, interiority and hapticity is the deliberate suppression of sharp focused vision.”
Pallasmaa, 2012

Images taken from “The Eyes of the Skin”

The book talks about how skin, our oldest and most sensitive organ, is our first medium of communication and the importance it plays in interacting with an interior space. The sensory mode is a parent to all other sense including vision which relates back to tactility and the memories of having felt. It also mentions vision is the most noble of the senses and losing it is the ultimate physical loss. We heavily rely on this when designing a space so, as interior designers, vision is a driving sensory mode.

I thought this read related to this project the most. I am interacting with materials and using my sense of touch and vision to create. This inspired me to be aware of this when developing my sculptural object and use it to my advantage.

The object was suggested to contribute to the collecting aspect of the projects. I realised this is an opportunity to explore and hone in on Project 2 Window of Contemplation’s window frame which has built-in pockets to store my client’s air purifying plants.

I knew I wanted to use bamboo for the pocket framed structure as my projects so far especially Project 2 pays homage to Japanese culture and bamboo is widely used for many generations in East Asia as material for furniture and heavily used in construction as scaffolding in areas like Hong Kong.

The frame resemblances that of scaffolding so my next step forward was to explore bamboo tying techniques. It was very interesting to experiment with lashings as these primitive methods go back centuries and it added a sense of rawness to my project. It is versatile so I wanted to incorporate this woody feel all over.

Having not used glue, or drilling into the bamboo, I found an alternative to holding my structure together that ended up not being destructive to my materials. This meant I can possibly re-use these materials in the future and consider their future purpose.

I wanted to include real life air purifying plants into my sculpture to directly convey the function of my material object and how it relates to the collection. I decided to use coir to house the plants, after discovering and investigating many different sustainable pots and containers at the CSM library. I had a look at pulp, mycelium, wheat-bran, moulded fibre and found the most effective was coir for my intended use as it is very strong for outdoors, can withstand getting wet and has great soil properties so I could use it within the collection.

Sustainable materials at the CSM library

I decided to use rattan and weaving for the pocket base as this is also a traditional technique that used bamboo canes and prominent in Japanese culture. It brings a sense of intricate calmness. Many japanese artists such as Jiro Yonezawa and Shōno Shōunsai have used weaving and interlacing to create rigid sculptures that create the same environment. I would have liked to make my own weave but due to time constraints I sourced a pre-made weaved base from a basket I had already in my home. As I only tied this to the structure and used non-destructive methods, I can recycle this and return it back to its former purpose as a base for my basket. This solution means I am wasting less material and also participating in recycling and sustainability of my project as an artist.

I sourced the bamboo canes and coir from garden centres. Initially I wanted to use a coir pot that is pre-made however they were out of stock. However they had coco liners so I lined this on cardboard to portray the coir pot. I sourced bio-degradable twines from craft shops, and made sure it had enough friction to tie with. I then cut the canes to the proposed sizes, calculating each measurement for the 12 canes.

During trial and error, I found the Japanese square lashing acted better than the square mark II lashing as there was less vertical and horizontal movements and angle of rotation. I also used knitting needles to feed the rope into the weave to tie against the bamboo canes.

Overall I found this project to be very interesting as it was hands on and I had to consider practicality and not just think conceptually. It forced me to consider beyond the designing stage, and look into materials beyond the aesthetics of them. It made me explore the historical uses, composition of the material and how these apply and can play into the interior. I had to consider the language I wanted to convey visually with numerous factors like the stability, texture, colour and form.

Construction process:

Unit 1 Project 2 Reflection

Window for Contemplation

For this project brief, we were asked to design a window on a building of our choosing and an interior space to contemplate. This could be a retreat or a seating area and we had the option to have our client’s collection away from this space or somehow have it involved in our design, depending on our client’s needs and if they wanted to get away from it all.

I decided to have my client’s collection incorporated into the contemplation space as his ethos is healthy living among plants and well being, so it only made sense for my client to practise ones preaches and have them close by. I also kept my client the same, developing his profile further so that he collects air purifying plants. This choice meant that it was a conscious decision to have them by the window, as the plants will be able to purify the air when they are open and I will be able to have windows capable of being open and allow the potential to have my building located on a busy road or built up environment.

After looking at various window frame designs, I came across gridded and cuboid framed structures that divided the glass plane window. I knew I wanted to incorporate my plants within the gridded frame system one way or another. So I began sketching my ideas onto paper which when I began annotating, evolved.

My key words or phrase has subconsciously been ‘bringing outdoors into the indoors’ and blurring the lines between the two as I have been designing for my client. The ideology promotes what my client believes in so I decided that it has to be a core theme for my project.

I began researching green ways of living in outside and inside spaces and came across this study below. I also researched the type of plants for growing vertically and vines were a recurring result.

The use of neutral colours of wood, stone and concrete allowed green to become to feature colour and really made nature pop. The contrast inspired me to do this with my space and allow my client to contemplate on the importance of his work. The stepping down into the seating area creates a fully immersive experience with the surrounding greenery and accentuates the height of hanging ivy. There is a use of gravity, which allows yourself to let go of the world and contemplate on your deep thoughts.

Once I arranged my mood board I sketched the initial sections and what I envisioned my contemplation space to be, inspired by the key elements from my mood board. I then created sections in AutoCAD which was something I was still getting to grips with but I found this method arranged my design in a layout that made sense and felt realistic. I then created a visualisation of the space in Sketchup then Photoshop which I am also still unfamiliar with so this took up a lot of time, however I really enjoyed bringing my ideas to life and portraying it into the atmosphere I wanted to create.

I also created some axonometric drawings which I have never came across before so I decided to do this by hand so I had more control and intimate involvement of the process. I then rendered this over with colouring pencils.

After the Tutorial

Following my tutorial, I was inspired by Tadao Ando’s work and looked at his window frame arrangements of various shapes of glass panes that symbolised the complexity of humanity. I thought that this would be a great juxtaposition with the idea of holding the plants and how human influence plays with nature. The Greenbox project in Cerido was also another inspiration on how the steel frame becomes a support for the vegetation and the idea of wilderness growing outside into the interior so I felt I could relate this to my project and have the ivy really incorporated into my design by building them into the walls and window and really considering the root/water system.

Sketch collage – development of contemplation space and window design

My design transformed unintentionally into a Japanese inspired zen garden and a greenhouse space where my client could connect with his collection, nature and isolate this with the view outside for context which blurs the line on what is interior and exterior.

Model

Cube Exercise

Cube model, made from foamboard, card and tin foil

Process

I started becoming familiar with the idea of making and creating in the studio. For me to use this practical skill and a way to materialise my conceptual designs, I was given the task to construct a cube out of 3 sides of foamboard and manipulate the inside space to adopt an appearance of one or more characteristics from a list.

I found this was a great way to explore with space with no limitations to the form. I thought of many directions I could go and eventually came up with an ambiguous concept that ended up being rigid, metallic and somewhat magical.

At first I chose the characteristic of “metallic”. Instantly, I thought of a reflective material but decided to put that towards the end of the process so it wouldn’t dictate the space and let my ideas flow. The connotations I had with metallic were rigid which led me to triangles, and how easily they intersect. Being a structural engineer, I have encountered triangular structures such as trusses and know that this is the most stable form in construction. I found the core point to start was with my concept, shape and form. The materials, texture and finishes came later.

Constructing the cube and origami pyramids

I thought about dimension and instinctively explored origami pyramids and my first thought was to make the base a square, however I liked the idea of a triangular base so that triangles would be the only shape to these volumes, emphasising a theme of structural stability and continuity. They created a cohesive triangular grid as they were able to fit perfectly together and a square base would produce a grid I would find too regular. I was able to make two pyramids at a time from one card piece, and this saved time, resources and labour.

I measured one side of the cube and through trial and error I made the card pieces with a specific dimension so the pyramids would evenly fit. I chose paper card as this was the most malleable without it being flimsy and end up losing its pyramid shape. I intended to cover the pyramid faces with a reflective material and I was going to use mirrored plastic sheets. However I found kitchen foil was a better option and it being cost effective. It was much easier to manipulate and easily accessible. I found I did not need anything fancy to portray the environment I wanted to create and I could use resources around me.

I was also going to cover all 3 sides with the pyramid structure, but I found it too time consuming and didn’t have a lot of time. Through experimenting, my solution was to cover the last face with shiny tin foil and this actually created a nice contrast with the matt texture from the card. Also, the flatness contrasted with the protruding pointed triangles. This decision instantly added dimension to my cube and I realised that experimenting allows unexpected but desirable results. I did not consider the colour of the card as I initially was meant to cover it, but the white unintentionally ended up being a good choice as it captured the reflected light from the foil very well. It reminded me of water when it glistens in the sun and I found it very captivating like magic.

Through this exercise I realised finding alternatives to a solution and making mistakes is part of the process. If I am met with a problem, the only way to resolve them is to go with it and find a way to develop it into an idea that works. Improvising and getting hands on is a way forward. This exercise helped me become confident in creating, generating an idea into something tangible and sometimes the only way is to create. It touched base on the foundation of interior design and my way of thinking through form, lines, shapes and volumes and how these are all powerful that play into an interior.

Unit 1 Project 1 Reflection

My design incorporates a live-work studio for my client and his collection which involves growing native plants and studying them, specifically from Surrey where he grew up. He transforms them into green walls and other green installations all to promote nature into interiors and the built environment. He does this outside his space, so my client focuses on growing and cultivating the plants himself.

Client Profile

My space is divided into two, the left as his living and right as his work space with 2 access doors on either side. This separation allows my client to freely come into his work space from the outside without spoiling his living space with dirt and other contaminants from the plants and outdoors. I have provided a space for my client to grow his plants with shelving racks with artificial lights along the right side of the room since there are three large south facing bay windows. I have created a plant unit in the centre which incorporates a built-in sofa, sink and desk study which acts as a tunnel between the two spaces. This allows my client to have a direct connection with his work but also live within it. Since he has a passion with plants and with regards to nature having a positive impact on our well-being, it only seemed fit to have the collection worked within the space and not have it segregated.

The plant unit also utilises layering with hollow cubes inspired by the artist Rashid Johnson. This ties in with the tiered system in my previous study of the Glossier seating area. I have included a bedroom and W/C mezzanine unit for space-saving, inspired by the use of levels in the Yurikugo House. The raised plants and bedroom allows my client to have an immediate view of his collection and this maintains relevance with the way he peacefully lives with his plants and his practice of promoting awareness of nature around us.

I found drawing my space by hand and to scale of 1:20 really helped me set out my initial layout and how I wanted to divide up the space. This tool really aided me in finding the correct proportions of my live-work ratio in relation to the room and it is something I will be taking on forward in future projects and my career.

The Wearable Task

We were set an introductory task to design and constructing a wearable of a memorable architectural/spatial experience that created a significant ‘wow’ moment in our lives. I considered famous landmarks which brought significance to my life however, as I dived further back in time, I discovered the profound effect the spiral staircase in Tate Britain had during my adolescence when visiting the gallery for school and day trips with my mother. I realised a simple, yet an understated feature of the space allowed me to feel much larger than I was at the time. It ignited a spark inside that allowed me to realise the powerful experience a space creates for the user. Its curvatures brought an organic essence to the space and created a continuous flowing motion from one level to another, extending the building. The monochrome patterns created a bold and contrasting centrepiece yet a minimal and serene atmosphere by using the repetition of circular shapes.

*https://www.dezeen.com/2013/11/19/tate-britain-millbank-renovation-caruso-st-john/*

I first sketched my initial designs, prioritising my desire to encapsulate the essence of the spiral staircase and circular forms but also transform the structure into an accessory, blurring the line between a model of architecture and a fashion head piece. Thus, I decided to allow the concept of the staircase to hang freely, wrap around, imitating the spiralling effect, and rest on my shoulders as if it were a scarf. I used thick cardboard as the base to sit on my head and thin card for the details. I found it was a flexible material to manipulate into the forms I wanted. During the construction I realised the terrazzo design consisted of overlapping circles. I found it ingenious the architects utilised recycled forms, and this saved my resources when cutting up the shapes. I experimented with the extent of detail I wanted to show on my wearable because I wanted to emulate and not copy the space. I replaced the top banister with smaller and more cut outs which created a more coherent piece. Overall, I am very content with the result as it is what I envisioned and I can form a connection to my spatial experience without it being too obvious. Next time however I would like to improve on the stability and make it properly secure on my head as I had some trouble maintaining the balance of my model during the presentation.