Portfolio synopsis

Fallow Occupation; Evidence of Decay has developed as a project from numerous origins. Significantly my personal interest in local scale activist activities and architecture. Looking to the Situationist International for reference, alongside modern day approaches for change, my blog http://emmaharrisondesign.blogspot.com/ refers to a number of these interests. 

Across every city there are countless oppourtunities for design, my project is based in one of these ‘wasted’ spaces often targeted by activists. A derelict petrol station on Wandsworth Road; when a petrol station ceases to work it must stand fallow for a two year period. My instalation will occupy the space for this time period and at the end the space can be further transformed. 

My project is a piece of design which addresses questions raised in my 

thesis, how city inhabitants can claim land. I have developed a charachter who creates this project, he is an artist/ activist/ anti -developer who spends his time wandering the city streets analysing them, much like Patrick Keiller. Therefore the projects he works on tend to be well considered intractley planned ‘guerilla’ projects that grow/ develop alongside the city but at a different pace. 

The instalation has developed through his interest with intervening with the balanisation of the city. The instalation I have created inverts preconceptions; from manipulating the typical routes one follows in a petrol station, to the beautifully carved ‘anti’ gallery walls responding to the typical galley layout. Questioning the art gallery as a frame for art much like the Situationists, here the gallery becomes the piece siting within the city context. 

The two year fallow period is one of the crucial elements that my design responds to. A structure which dissapears speaks not only about time but also sustainability. Could a waste material gain a new use but also be reused at the end? After numerous experiments i found luto (a waste material from the local Chelsea foundry) can have this circular life. It acts as a stimulant in the breakdown of the plaster and can be crushed into a fine powder. Hence as visitor numbers increase a ‘blanket’ of powder will signify the existance of ‘something’ in the space, leaving a sign to the city. 

New Reading!!!

Look! This magazine looks amazing it's all about guerilla art - I love the fact that increasingly guerilla activities are being published - it shows that my thesis was on trend with what people respond to in the city. It's reassuring to know that something I feel so passionately about (reinvigorating the city) is now becoming acknowledged by the media. I haven't had a chance to read this yet with my project deadline but even flicking through I'm excited. 

This will be my next book - I have stopped reading the past few weeks really as I have been manicly finishing my project - I hope it pays off. 

Experiential images

 The model has achieved it's purpose of providing the experiential images. I have worked into a number of the images but these 3 are my favourite, they give the experience as individual images but it's also interesting to combine different styles of images to tell a story. 

I would like to use my model as a tool to make my final images, almost like a set. I have been thinking about the best way to show the 'real' experience and believe this would be best doen through film. I could use my model and film what it is like to pass through the space with the correct lighting conditions. Te plus side of making a scale model is that I should be able to use a scale remote control car to do this, thus you can experience 'driving' through the space. This would be great if I could get this doen for the show, allowing an interactive piece that reflects the project - with live feed video to guide you through the space, although my tutors reckon there may not be space for this and didn't seem too enthusiastic - I will try though.

Model construction

The model construction had a number of elements, and was really helpful in making me consider all the more technical aspects of the project. The drawings I needed for the model are the same drawings that would be needed to build this installation full scale, thus bringing some reality to the project.

Stages in building the model:

I, like the activist would completed these stages in my garage

- work out exact plan and wall thicknesses/ angles.

- build wooden frames to surround walls.

- varnish and prepare frames to allow quick release from plaster.

Move to foundry

- secure frames

- prepare luto (waste from metal moulds)

- prepare and pour plaster mix

- remove frames to reveal white forms

- carve forms with surfaces corresponding to construction drawing.

I also thoroughly enjoyed making the model, in previous years there has never been an emphasis on producing 1 piece, but preparing for the degree show has been an excellent platform for this. It has been enjoyable to be able to spend time in the foundry developing my skills but also testing materials that I had little knowledge of previously. The only downside is the length of time it's taken to build, although I've learnt a lot.

Even from photos taken on my phone you can start to see the kind of experience I am trying to create and the sort of spaces that will be created. 

Sharp angles juxtaposed against soft organic surfaces. 

1:20 scale model

I have decided to build a 1:20 scale model in order to show both the construction process and the space created. The process of building this model will be important as well as the finished model, as it will begin to suggest the construction process. I will use the same materials as the real product so it will be like the activist minature test model.