The project explores the production of hempcrete following the process of farming sativa through to the mixing of hemp hurds with lime and water to form hemp blocks. The cathedral like structure suggests a place of worship and a sacredness to this plant-based product. The drawing is hand drawn with pen and ink with layers of digital collage.
An architectural version of the exquisite corpse game where four elements are added together to make a body. Buildings and architectural elements are transformed into a new body; an architectural monster. Handmade from cuttings of recycled architecture ‘Arkitekten’ journals, A3 and A2 portrait size.
Based on a science fictional premise, the narrative of the project draws from the novel “The Island of Dr. Moreau” by H.G.Wells. Within the project, the character of Dr. Moreau represents the multinational corporation, ‘Vion’, one of the major suppliers of processed meat in Europe. Their headquarters are to be relocated in the tax loophole of the Bailiwick of Guernsey and the Island transformed into a ‘company town’ that produces, ships and sells consumer products made from the ‘Guernsey Cow’. The development will be seen as a radical sustainable enhancement of the Island, by supplying sustainable energy, employment and resources to allow it to function autonomously – locally and independently from mainland Europe.
The proposed masterplan of Guernsey represents a strategy for the industrial development of a sensitive rural area that rather than destroying the countryside, strives to enhance it. Through the combined amplification of the picturesque surroundings and supply of commodities to the surrounding community, the introduction of Vion to the Island of Guernsey secures its safety and independence. Furthermore, the scheme highlights how an equilibrium must be maintained between the land and developer, ensuring that resources are fed back to the system that they are being taken from.
Project Awards:
Re-thinking the future sustainability award
Mixed media of cutouts handmade and drawn from architecture journals ‘Arkitekten’ with pen and ink, A2 size. Beginning with a column at the centre of the drawing, fragments are dissected to form different building typologies and proposals relating to the column.
With reference to Sweeney Todd and using architecture to conceal the truth, a layered drawing was made of a small bakery called 'Victor Hugo's Boulangerie'. The project explored how the front elevation could be represented as a typical traditional bakery yet function as a slaughterhouse behind the scenes. Unknowing visitors to the store may be unaware of the dark under-layer of the bakery who are there to purchase a typical fresh loaf. Although, they may wonder about the strange smells and sounds that are occurring behind the counter.
A contemporary cruise liner offers thousands of activities for the ultimate luxury getaway equipped with cinemas, swimming pools, fitness centres, spa treatments and fine dining. The ‘moving city on the sea’ allows for tourists to experience a luxury all-inclusive holiday in which every need is catered for to allow for a level of relaxation that is unique.
Monarch of the Sea explores how the modern cruise liner can be adapted to be more fantastical, daring and exploratory, offering a new level of luxury where tourists are entertained whilst travelling on a mechanized pedal cart system spanning entire breadth of the liner. The current cruise liner industry is often damaging with enormous CO2 output and visual scarring to tourist sites, such themes of sustainability and tradition are explored in the drawing with satire and a sense of humour referencing fairytales such as La Belle et la Bête by Jeanne-Marie Leprince de Beaumont.
The long section is an adaptation of the 1914 White Star Line, R.M.S Majestic, previously the largest ocean liner in the world and reimagines the interior spaces to be large voids filled with gardens, libraries, theatres and aquariums. There is nostalgia in the drawing with reference to ‘the golden age’ of cruise liners as well as modern technologies such as algae farming, wind power and cable car systems. The work seeks to explore the theatre of the cruise liner typology and the performance of life on the water.
The drawing collage begins with two different column typologies, the trajectories of both forms are then transformed at both North and South to form two polars. Collage with pen and ink handmade and drawn at A2 size.
A series of models were used as tools to develop the narrative of Ismail who owns a small kebab store in Kreuzberg, Berlin and lives opposite in his caravan. Through a series of animations, a playful connection between living and working in the kebab store through folded rooms, rotational screens and openable floors create a playful theatre of spaces.
“When the sun rose higher, Elisa saw before her a mountainous land, half floating in the air. Its peaks were capped with sparkling ice, and in the middle rose a castle that was a mile long [...] Down below, palm trees swayed
and brilliant flowers bloomed as big as mill wheels. […] When she came close to the churches they turned into a fleet of ships sailing beneath her, but when she looked down it was only a sea mist drifting over the water”. Excerpt from 'The Wild Swans,' H.C. Andersen.
“The Fairytale Forest” envisions the garden of H.C. Andersen as a mighty forest growing amidst a great lake within the heart of Odense. The forest extends the
existing garden skyward to a treetop walkway perched amidst a sky-scape of floating pools, with views that skim across Odense city. The tree-top museum winds a journey through a nature reserve of swaying bulrushes, wild birds and treehouses that float mid-air – gradually uncovering the stories of H.C. Andersen through a garden in which you can walk on air. The tree trunks form a dappled forest-scape below that extends out into the surrounding streets, blending the
forest into the city. The great lake collects and celebrates rainwater from the city around it, in a seasonally shifting landscape of waterways, rockpools, fountains and ice ponds - in a garden in which you can walk on water.
The forest allows the museum to operate as a transient journey where the city, nature and the imagination meet. The individual “trees” of the forest embody imagery from H.C. Andersen’s worlds, recognisable characters from his tales, metaphors he coined and objects he used in his daily life and work. In this way, the forest manifests the projected “toolbox” of H.C. Andersen. Sitting protectively over the little yellow house at the heart of the forest is the Mighty Oak, the gateway to the lofty treetop garden. It is through this great tree that you enter the magical world of H.C. Andersen and ascend up into the skies, into the realm of your imagination.
In collaboration with Kirsty Badenoch, the project was placed in the final 19 of 486 entries.
Illustration and architectural proposals for a short film, 'Only When Denmark Understands' supported by the Danish Agency for Culture that explores the future landscape of Denmark in 2040 for JAC studios, Copenhagen.
In collaboration with Kerstin Kongsted and TEKO design and business school, a performance was designed, curated and showcased at the Aarhus Culture Night 2011 in Ridehuset, Aarhus. The project explored how devices can be made to extend and pronounce joints in the body. A large folding wing structure was designed to attach to the body and accentuate movement.
Based on the novel 'Perfume' by Patrick Süskind, the project explored the architecture of smell. By focussing on market places in the city of London, a series of drawings were made that explored how smell can manipulate, enhance and distort the memory of a place.
