BA (Hons) Design for Branded Spaces

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We’re developing and validating a new course, the BA (Hons) Design for Branded Spaces, to replace the  BA (Hons) Spatial Design. The new course is due to start at London College of Communication in September 2017 (subject to validation).

Click here for more information about the BA (Hons) Design for Branded Spaces.

 

Bringing Spaces to Life – Biophilic Spatial Design

Connecting People, Nature and Space

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The project ran in conjunction with Green Week and the Wild Renaturing the City symposium at the London College of Communication.

Year 2 BA (Hons) Spatial Design and BA (Hons) Design Management and Cultures students recently completed a project where, working in small groups, they investigated and transformed a site within the City of London, using design schemes based on biophilic principles. Spatial Design students provided the design for the site transformations and Design Management & Cultures students worked on branding and promoting of the site.

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The aim of the project was to imagine a better future and demonstrate how biophilic principles can bring spaces to life. To improve health and wellbeing by providing a spatial design solution towards the design of an urban interior that reconnects people with the natural world, and to make this space a destination for the general public.

Film by: Claudia, Rebecca, Ola from BA (Hons) Design Management & Cultures with the participation of Nahla, Coco, Anna, Hannah from BA (Hons) Spatial Design.

Visuals of the projects by spatial design students

Film by: Fareeha, Georgia, Ainofrom BA (Hons) Design Management & Cultures with the participation of Alice, Jason, Zahraa, Nisha from BA (Hons) Spatial Design.

Biophilic design

‘Biophilic design is the deliberate attempt to translate an understanding of the inherent human affinity to affiliate with natural systems and processes – known as biophilia’ (Kellert, 2008: 3). Thus, ‘The idea of biophilic design arises from the increasing recognition that the human mind and body evolved in a sensorially rich world, one that continues to be critical of people’s health, productivity, emotional, intellectual and even spiritual wellbeing’ (Kellert, 2008: vii).

Modern building practices promote a model that is often resource intensive and unsustainable, and where the natural world is either neglected, substantially altered, highly controlled, or eradicated altogether.

The prevailing breach between the modern built environment and the natural world has resulted in ‘environmental degradation, and separation of people from natural systems and processes’ (Kellert, 2008: vii). The body becomes alienated from its natural surroundings, both physically and psychologically, resulting in what Professor David Orr describes as ‘a sense of placelessness’ whereby the lack of understanding in ecological processes results in spaces that ‘resonate with no part of our biology, evolutionary experience, or aesthetic sensibilities’ (Orr, 1999: 213).

Designing for the senses – with the RNIB

Collaborative Project – Designing for the Senses: RNIB (Royal National Institute for Blind People) redesign

Second year students engaged with the RNIB (Royal National Institute for Blind People) to redesign their lobby and waiting area, in order to make it more appealing to the senses, more inclusive for disabled users and more in line with RNIB’s brand communication.

This video is one of the group responses to the brief, documenting their design process.

 

Collaborative Project – Designing for the Senses: RNIB (Royal National Institute for Blind People) redesign from BA Spatial Design on Vimeo.

Designing with the Senses

Second year students are working on a collaborative project to redesign the public areas of the Royal National institute of Blind People in Judd street. Throughout the term the students will be working in groups to create a space that represents RNIB’S vision and aims, that is functional for people of all seeing abilities and that works with all senses. Students are asked to design for the emotional properties of sensory space and create an inclusive space experience.

This morning the students were briefed by Hugh Huddy, who explained the RNIB’S aims as well as how blind and partially sighted people navigate space.

Hugh Huddy talking to the students at the RNIB

Hugh Huddy talking to the students at the RNIB

Students spent some time documenting the space, mapping the sensory properties and the atmosphere of the space as well as the user journeys through the spaces.

Students documenting the space at RNIB

Students documenting the space at RNIB

 

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In the afternoon, Mik Scarlet, access consultant,  came to lecture the students about inclusive design.

Mik Scarlet talking to students at LCC

Mik Scarlet talking to students at LCC

“What is inclusive design? Design that allows any user to interact with a space,  product or building in as similar manner as possible. […] it ensures shared experience for all users”. “It’s designers that design the barriers”

 

Fresh Air Square evaluation study

Third year students on the BA (Hons) Spatial Design at the London College of Communication are working with Team London Bridge to carry out an evaluation study of Tooley Street Fresh Air Square.

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Bench and spatial design by WMB Studio

Fresh Air Squares is an initiative by Team London Bridge to insert modular micro-parks (parklets) across the London Bridge area to transform 2 car parking spaces into mini green hubs for a period of one week to a year. The objective is to introduce public green spaces into the streetscape, to improve the local environment by making it more place and people focused, and raise awareness of air quality issues.

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In April 2015 Team London Bridge launched a competition to design the first parklet, located in Tooley Street. The project is run in partnership with Transport For London, King’s College London, CJS Plants and Vauxhall One. The winning design, by WMB Studio, incorporates a striking bench seating, specialised plants species to mitigate air pollution, sustainable urban drainage and an air quality monitoring station.

The BA (Hons) Spatial Design at the London College of Communication (University of the Arts London) is working in collaboration with team London Bridge to evaluate users’ experience of the Fresh Air Square initiative and how it can inform the provision of future Fresh Air Squares in the area. Students carry out on site primary research to document and evaluate people’s experience of the space. Initial findings show that the design of the parklet is very popular with London Bridge communities.

Inhabiting the Transition Space

We recently ran a project with the 2nd year BA (Hons) Spatial Design at the London College of Communication (University of the Arts London) where, in collaboration with South West Trains in Wimbledon station, students were asked to re-examine the way people inhabit a transition space.

As part of the project, students were introduced to research methods instigated by the Course leader, Valerie Mace. Valerie developed methods and techniques that facilitate the documentation of atmospheric qualities in spaces, the intangible world of sensory perceptions and subjective experiences. The objective was to enable designers to conduct sensory driven transformation into a wide range of spaces. The original research project was published in a paper called ‘Sensing the Urban Interior’ and presented at the [in]arch conference at Universitas Indonesia in Depok (Jakarta) in 2014.

This project started with a question:
How can we regenerate spaces by manipulating their atmospheric qualities?

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The project explored the sensory relationships between the intimate space of the body and the interior of a transition space, the ubiquitous train station. Every morning, Monday to Friday, our cities experience an influx of people commuting towards their center to work and reversing their journey to go back home in the evening. This creates a social phenomenon whereby the experience many people have of the city’s urban interiors is transient. This experience is also impersonal as the design of the spaces that facilitate this daily commute is often constrained to performing specific functions such as moving people from A to B, with limited opportunities for people to interact with their surroundings and even less so with each other. So the train station is an interior commuters experience and inhabit on a daily basis yet very little of the design takes into account the way the space affects people, either psychologically or emotionally. Therefore, the objective of the project was to understand how these environments impact on people’s everyday life by exploring and identifying the processes in which sensory experiences are managed and controlled, in order to develop a human centred phenomenological approach to the design process and in doing so, offer innovative solutions that will alter the way people perceive, experience and inhabit these interiors.

So the project invited students to rethink the relationship between body and space in the context of a transition space, provide sensory driven transformations that alter the atmospheric qualities of the interior in a positive way and create a sense of place, thus making the experience of individual and collective journeys a more enjoyable one.

The brief
We used Wimbledon train station as the project site. Students were divided in small study groups and assigned to a specific schedule of visits agreed by the station management. Upon arrival, students met with staff to be briefed on health and safety requirements. Wimbledon station is a small but essential commuting zone in South-West London, with trains to Clapham Junction, Waterloo and London Bridge. It also offers direct access to the London Underground District Line. The interior of the station is designed for a very specific purpose, that of moving between platforms and entry/exit points, waiting for and boarding trains. The singularity of the interior means that people experience enforced boredom and are made to wait for trains in environmentally uncomfortable conditions. Spaces selected for the project are the main ticket hall and platform 9.

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The task was to redesign the space or elements of the space (an intervention) to change and enhance people’s perceptions and experience of the station and of commuting, without obstructing the interior’s primary function and the constrains associated with safety and security within the station’s interior and platforms. For example, staff needs to retain total visibility from one end of the platform to the other and at peak times, the station accommodates a large volume of people moving in different directions. Students also needed to observe South West Trains branding requirements, such as their colour range.

As part of this project students were required to document existing spatial atmospheric conditions within the station in order to establish a set of desired spatial atmospheric conditions that will become the basis for a sensory design intervention. By using the site for primary research, they were able to explore ways to make people feel more positive about their experience and provide opportunities for them to engage with their surroundings. They could, for example, choose to soften the experience through a series of subtle changes, address the issue of waiting and the negative affect of delays, or aim to provide a friendlier environment. Whichever their approach, they needed to keep people moving at all times (no bottlenecks or overcrowding in any single area) and observe safety issues. In other words, this wasn’t a decorating exercise and students needed to provide a solution that considers all aspects of the site.

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The project was structured into 4 stages:

Stage 1: Discover – Students were required to use phenomenological led design research methods to reveal existing spatial atmospheric conditions through the documentation of the interior architecture, materials and their relationships, actual and perceived temperature, objects, movement and time, thresholds and transitions, scale and distances in relation to the body, the light and corresponding shadows.

Stage 2: Define – Students were required to map, analyse and visualise existing spatial atmospheric conditions to understand how the design of the space affects people within it. Then they were able to propose a set of desired spatial atmospheric conditions that formed the basis of the development of design solutions.

Stage 3: Develop – Students generated design proposals using their research, analysis and initial design developments. They visualised and communicated their design proposals through drawings, prototypes and storyboards. They were encouraged to develop their own interpretation of what the design intervention could be although they were required to integrate at least one sensory attribute within its design that wasn’t visual. So the design would be something people can sense and experience in more ways than by just looking at it. It could also be in one place or made of a series of related elements across the site. The proposed design needed to alter the way people feel about being in the station and provide opportunities for alternative behavioural and emotional situations.

Stage 4: Deliver – Students were required to fully map, visualise and realise their design proposal for the project. As well as mapping drawings and diagrams depicting the changes in spatial atmospheric conditions, they needed to demonstrate the positive effect of the changes on behaviour and emotions, and evaluate how their design created a sense of place.

Site-sensory-transformations

At the end of this stage students showcased their work to a review panel while some of the presentations were filmed and included in a short film of the project.

Digital (Dis)connections – Interactive Installation at the Royal Academy London

Students from the BA (Hons) Spatial design year 2 – Calvin Lok, Chin Chin Lam and Aitor Fernandez Hidalgo – took part in the Digital (Dis)connections event at the Royal Academy on Saturday 24th October. This event linked to the Ai Wei Wei exhibition showing at the RA and ‘inspired by Ai Weiwei’s infamous blog and prolific use of social media, [the Royal Academy hosted] an evening of talks, performances, installations and more that challenge our contemporary use of the internet, and imagines future applications of digital technologies.’ (source: https://www.royalacademy.org.uk/event/digital-dis-connections). The project was run in collaboration with the Students Union at UAL and the RCA.

From the designers, Calvin, Chin Chin and Aitor:

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I(WE) AM(ARE) ANONYMOUS , is an interactive video installation that seeks to reveal the duality and complexity of being anonymous. On one hand, there is a freedom and power that cannot be culled, on the other, credibility and responsibility become trivial. The installation will invite users to create content which will be visually broadcast in the exhibition space while in an anonymous state. The installation comes in two parts, creation and propagation.

The creation component is an “anonymous zone” where users can create content under the guise of anonymity. Within the “anonymous zone”, the participant can see outside, but the onlookers will not be able to know who the participant is. This represents the power of anonymity. In this “anonymous zone”, the user will be filmed, but his face will not be shown. This emphasizes the idea of hiding in plain sight through anonymity and the freedom it affords.

In the propagation component, the scene in which the participants will be filmed is as such; an unknown person walks towards a lone keyboard. Their face concealed by a “mirror mask” as they type some words on the keyboard. Subsequently, the person leaves the booth. This scene will be broadcast on the wall opposite the creation component. The “mirrored mask” would have the images of the onlookers reflected upon it, and represents the idea that an individual becomes the collective and the collective is the individual through anonymity, thus both trivializing and empowering their existence. Additionally, as the content will not be filtered, it will reflect the presence or absence of social responsibility and morality once I(WE) AM(ARE) ANONYMOUS.

Process-wise, the following is a recount of the process we had from start to finish:

We started by establishing an idea based on the exhibition brief. After bouncing it back and forth the three of us, we finally decided on one which we really liked(that one above), and then proceeded to elaborate on it. I came up with the initial idea of representing an anonymous state more tangibly. I wanted it to be extremely digital and software based, and the initial idea I had in mind would have had a very plain outcome, but with more interaction. Aitor felt that it was not visually impressive enough, and proposed that we translated it into a physical space. We came up with many ideas after that, from hanging boxes with screens just big enough for your head to fit in to raised platforms with our body visible, but your face hidden. Chin chin proposed much of the visual outcome and communication which culminated in the space shown on the photographs.

When it came to construction, we worked every Monday and Wednesday, from about 10am-6pm over the whole of October. Despite the 4 month long lead we had before the project, our space was only confirmed a month before, as well as some other details which prevented us from moving forward. But with Aitor’s experience in the 3D workshop, construction moved quickly and the resultant booth was constructed in slightly over 1 week. I then refined the software and made it fit our installation while Chin Chin worked on the visual communication of the booth. The last hurdle we had was storage and transport. As it was a large structure, we had to store it in school and then transport it to the RA. Making the structure flat-packable was a really smart decision on our part as we managed to save quite a fair bit of cash on transport.

Lastly, we had to set up for the actual event at the RA. this was more of a challenge than an actual problem as the RA staff were very helpful. We set up the installation in about 3 hours and then proceeded to test it for another 1 hour. Once we were satisfied with the outcome, we packed up, took a break and waited for the event to start.

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The process of making an exhibition

2nd year BA Spatial Design students worked with the 2nd year BA Design Culture Management students to curate, design and build an exhibition showcasing a collection of artefacts from the Cuming Museum. The project was initiated and managed by Dr Nicky Ryan at London College of Communication. The BA Spatial design joined the BA Deign Culture Management in March 2015 although discussions with the Cuming Museum started in January when we wrote a post called After the Fire: Re-imagining the Cuming Museum. The exhibition successfully launched in May 2015 in one of the galleries at LCC and was opened to the public for a week.

Zahra Toolabi, 2nd year student on the BA Spatial Design made a fantastic film that shows the process of making and constructing of the exhibition. The film highlights how well the students worked together as well as the fantastic technical facilities available at LCC. The film shows students working in the 3D workshop, laser cutting area and print studios, and is a great example of how useful these facilities are for spatial design students.

Never Mind the Bollards

Last Friday staff at the RIBA very kindly gave some of our exchange students a short tour of the library and its research facilities, to assist them with their summer research projects. All were impressed by the help offered by the learning team, and access available to our students. It was a valuable trip, students have already made use of their online catalogue to develop their bibliography proposals further.  IMG_1489 From there we headed over to Store St. to visit The Building Centre, and more specifically to look at 2 exhibitions, Public London and Never Mind the Bollards both part of the London Festival of Architecture http://www.londonfestivalofarchitecture.org/IMG_1506The Public London exhibition slightly shocked our overseas spatial design students, as the giant interactive model and exhibition combined, revealed to them quite how many transformative spatial and architectural design projects are happening all over London, The exhibition inspired visits this weekend by one of our group, to areas of London until now unknown.

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Outside in the South Crescent, an installation, called ‘Never mind the Bollards’ looked at the place everyday items of street furniture play within our streetscapes, and perhaps asked us to question their history, usage and design, and the contribution these sometimes overlooked items can play in shaping out public spaces.

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IMG_1494Curator Sarah Gaventa also prompts us to question the design future of our public spaces, and highlights how little data has been gathered about how we use our public realm in the past, in the accompanying free newspaper publication – Secrets of Public space revealed

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