CALLIGRAFFITI - UCA Student Showcase · and Dorothy Larcher’s work, but most importantly to house the work of the crafts community so to not be forgotten. Studied and enjoyed to

CAMILLE GAGGIOTTI1604618 FIAD6003 : FEASIBILITY & CONCEPT DESIGN

The Crafts Study CentreUnivers i ty for the Creat ive ArtsFalkner roadFarnhamSurrey GU9 7DS

C A L L I G R A F F I T I

CONTENTS PAGE

01 . Proposed usep 2 . 0 1 . 0 1 p r o j e c t b r i e fp 2 . 0 1 . 0 2 p r o p o s e d u s e d e s c r i p t i o np 3 . 0 1 . 0 3 . 0 1 c l i e n tp 4 . 0 1 . 0 3 . 0 2 c l i e n t - c u r r e n t u s e o f s p a c ep 5 . 0 1 . 0 4 t a r g e t a u d i e n c ep 6 . 0 1 . 0 5 . 0 1 p r o p o s e d s p a c e s r e q u i r e dp 7 . 0 1 . 0 5 . 0 2 p r o p o s e d s p a c e s r e q u i r e dp 8 . 0 1 . 0 6 p l a n n i n g d i a g r a m s

02 . The s i te - Analys isp 9 . 0 2 s i t e h i s t o r y / o r i g i n a l u s e

03 . The s i te - Contextp 1 0 . 0 3 . 0 1 t h e l o c a t i o np 1 1 . 0 3 . 0 2 s u r r o u n d i n g a r e a sp 1 2 . 0 3 . 0 3 t h e s i t ep 1 3 0 3 . 0 4 o n s i t e s k e t c h e s

04 . S i te Drawingsp 1 4 . 0 4 s i t e d r a w i n g s

05 . S i te survey p 1 5 . 0 5 . 0 1 t h e s i t ep 1 6 . 0 5 . 0 2 a c c e s sp 1 7 . 0 5 . 0 3 o p e n i n g sp 1 8 . 0 5 . 0 4 d e t a i lp 1 9 . 0 5 . 0 5 s u n o r i e n t a t i o n

1

p 2 0 . 0 5 . 0 6 s t r u c t u r ep 2 1 . 0 5 . 0 7 v o l u m e sp 2 2 . 0 5 . 0 8 s t r u c t u r a l g r i d sp 2 3 . 0 5 . 0 9 p o t e n t i a l f o r c h a n g ep 2 4 . 0 5 . 0 9 p o t e n t i a l f o r c h a n g e

06 . Concept p 2 5 . 0 6 . 0 1 . 0 1 t h e p r o c e s s c a l l i g r a f f i t ip 2 6 . 0 6 . 0 1 . 0 2 t h e p r o c e s s c a l l i g r a p h yp 2 7 . 0 6 . 0 2 t h e h i s t o r y o f c a l l i g r a p h yp 2 7 . 0 6 . 0 3 t h e e v o l u t i o n t o c a l l i g r a f f i t ip 2 8 . 0 6 . 0 4 m a t e r i a l s n e e d e d f o r c a l -l i g r a f f i t ip 2 9 . 0 6 . 0 5 . 0 1 c o n c e p t u a l c o l l a g e s - a b s t r a c t c o l l a g e o f s p a c ep 3 0 . 0 6 . 0 5 . 0 2 c o n c e p t u a l c o l l a g e s - a b s t r a c t c o l l a g e o f s p a c ep 3 1 . 0 6 . 0 5 . 0 3 c o n c e p t u a l c o l l a g e s - a b s t r a c t c o l l a g e o f s p a c ep 3 2 . 0 6 . 0 5 . 0 4 c o n c e p t u a l c o l l a g e s - a b s t r a c t c o l l a g e o f s p a c ep 3 3 . 0 6 . 0 5 . 0 5 c o n c e p t u a l c o l l a g e s - a b s t r a c t c o l l a g e o f s p a c ep 3 4 . 0 6 . 0 6 c o n c e p t u a l m o d e l sp 3 5 . 0 6 . 0 6 . 0 1 p r o p o s e d s p a c e s r e -q u i r e d - m o o d b o a r d sp 3 6 . 0 6 . 0 6 . 0 2 p r o p o s e d s p a c e s r e -q u i r e d - m o o d b o a r d sp 3 7 . 0 6 . 0 6 . 0 3 p r o p o s e d s p a c e s r e -q u i r e d - m o o d b o a r d sp 3 8 . 0 6 . 0 6 . 0 4 p r o p o s e d s p a c e s r e -q u i r e d - m o o d b o a r d sp 3 9 . 0 6 . 0 6 . 0 4 p r o p o s e d s p a c e s r e -q u i r e d - m o o d b o a r d s

07 . Organisat ionp 4 0 . 0 7 . 0 1 z o n i n gp 4 0 . 0 7 . 0 2 f a c a d e a n d e n t r a n c ep 4 1 . 0 7 . 0 3 . 0 1 p l a n n i n gp 4 2 . 0 7 . 0 3 . 0 2 p l a n n i n g

08 . Visual isat ionp 4 3 - 4 8 . v i s u a l i s a t i o n

09 . Drawingsp 4 8 - 5 2

0 1 . P R O P O S E D U S E

01.02 Proposed use descr ipt ion:

To design an interact ive space for The Crafts Study Centre regarding word craft which is a dying art , br inging i t back to l ight amongst the younger generat ions.

The Crafts Study Centre current ly operates as an exhibi t ion space with an archive, accessed on appointment, dur ing which students can research and come into contact with a var iety of crafts .

We are looking to change this . We aim to make i t more inclus ive for a wider audience, to reduce i ts s tatus as a niche interest , and to render i t more access ible to those who might not have had the opportunity to pursue crafts previously.

Crafts Study Centre proposes there be 3 overal l spaces required:1. Exhibi t ion space to show the evolut ion f rom cal l igraphy to cal l igraff i t i 2 . Workshops in which to teach the art of cal l igraff i t i3 . Studio space to create cal l igraff i t i murals with the sk i l l s learnt in the workshops

Due to the s i te being s i tuated in what was histor ical ly a crafts town, attached to the Univers i ty for the Creat ive Arts , the Crafts Study Centre is posi t ioned in a hub of innovat ive aspir ing creat ives. This makes i t the ideal locat ion for an ambit ious project that stands apart f rom what is expected of an ‘educat ional ’ bui lding. We hope to att ract an audience of 16 to 20 year-olds within Farnham, a group which has not yet been addressed, except ing for the skate park.

01.01 Poject Br ief

The Crafts Study Centre was bui l t for Phyl l is Barron and Dorothy Larcher ’s work, but most important ly to house the work of the crafts community so to not be forgotten. Studied and enjoyed to conserve the crafts which is becoming a dying art .

The Crafts Study Centre is looking to be more relevant amongst young people in order to br ing more attent ion to the world of word craft , more speci f ical ly Cal l igraff i t i .

The part icular craft of cal l igraff i t i , i s too often l inked to vandal ism as graff i t i i s . However i t must be understood that cal l igraff i t i i s a craft , i t i s something that evolved f rom the ancient art of cal l igraphy and was modernised in an urban form by young people wishing to speak their mind. I t i s important to show how crafts evolve over t ime and appreciate both the or igins and evolut ion in i t , and how the past c lear ly impacts i ts modernised vers ion.

This speci f ic space aims at showing people how crafts can evolve and grow over t ime and to know to respect both.

Overal l Aims:

- is creat ing a space to home a group of confused teens unsure as to where they f i t in , feel ing out of place in the educat ion system.-To incorporate a space of study/workshop-To create a wor ld of words -To al low people to explore their creat iv i ty and art is t ic s ide through cal l igraff i t i . Offer ing a st ructure pract ice as wel l as wor ld of creat iv i ty in word craft .

CRAFTS STUDY CENTRE AIMS TOADVANCE THE EDUCATION OF THE PUBLIC IN THE ARTS AND IN PARTICULAR THE ARTISTIC CRAFTS.

2

Structure

The Crafts Study Centre is spl i t over two bui ldings. One in Bath one in Farnham.Both are open to publ ic , however each has got di fferent purposes. Bath CSC exhibits crafts , whi ls t that Farnham CSC aims to be a study centre as wel l as an exhibi t ion space and is or i -ented more towards students .

Miss ion statement:

Crafts Study CentreTo be a nat ional centre for craft research, exhibit ions, and col lect ionsformed with the aim of ‘of the advancement of the education of the public in the art and in part icular the art ist ic crafts ’ To work in partnership with the Universi ty of Creative Arts.

History and Her i tage

Crafts Study Centre:

The f i rs t spark of the idea for bui lding a Crafts Study Center goes back to 1964. After the death of Phyl l is Barron, who’s wi l l c la imed to leave her l i fe ’s work together with that of her partner, Dorothy Larcher, to the etcher and educat ionist Robin Tanner. The wi l l s tated; ‘ I leave al l my work to Robin, He wi l l know what to do with i t .’

The body of work went f rom museum to museum being exhibi ted unt i l they f inal ly decided to create a space in which i t could be housed along s ide other crafts . This is how the CSC f i rs t came to be in Bath. I t then expanded and bui l t a new centre in Farnham which was a imed at the study of crafts as wel l as housing crafts .The disc la imer of the Crafts Study Centre is as fol lows, “ I t i s therefore proposed to ra ise funds to establ ish a centre, which must necessar i ly be attached to an exist ing inst i tut ion such as a univers i ty or museum, with easy access. To maintain cont inued l ivel iness, changing exhibi t ions, including work f rom overseas, are a lso envisaged. There would be l ibrary space not only for books but for personal records, notebooks and other manuscr ipts , and room where reserve col lect ions could be handled at le isure, giv ing except ional opportunit ies for f i rs t -hand study.” Thus the Farnham Crafts Study Centre came to be.


0 1 . 0 3 . 0 1 c l i e n t

The ClientThe Crafts Study CentreUniversity for the Creative ArtsFalkner roadFarnhamSurrey GU9 7DS3


0 1 . 0 3 . 0 2 c l i e n t - c u r r e n t u s e o f s p a c e

crafts study current use of space diagram:

The crafts study center exhibi ts old work on the ground f loor, as wel l as new work on the 1st f loor. On the last f loor you have the archives which you can access by contact ing them in advance in order to use f i les , and see archive objects .

4


0 1 . 0 4 t a r g e t a u d i e n c e

My target audience are 16-20 year olds who feel l ike the educat ion system puts a choke hold on their creat iv i ty, or who were not given the oportunity to explore their creat ive s ide. 16-20 being a format ive age at which teenagers start becoming indiv iduals i t i s important to make sure teenager do not fa l l through the cracks of society, i t i s important to let every teen know that you do not need to be good at school in order to succeed. This exper ience al lows these teenagers to know that they have a place in which to express their creat iv i ty and break away f rom the sociatale mold forced upon k ids and teenagers to f i t wi thin. The Crafts Study Centre being attached to an arts univers i ty might be able to give them that push towards persuing a further educat ion in arts .

Mar ina19:we studied in a way that is too r igid and theory based, we had no f reedom of express ion. Even the arts c lass was restr ic ing, making us draw st i l l l i fe i t fe l t restr ict ing

Luke 18 : Academic c lasses are pr iorat ised. I take academic c lasses I have no interest in what so ever, I know I won’t persue any of those c lasses after school . I just take them to pass. no interest in . I have so much energy I could be putt ing into other things, into things that I and uncreat ive. I work at a cafe as a

bar ista , I ’m not too sure what I where to

go f rom here.

Marcus 17: I wish i could explore my wr i t ing more in school I love wr i t ing, especia l ly poetry. I want to f ind a format to put i t in that ’s di fferent to others . I want to be able to express my indiv idual i ty and be celebrated for i t , not put down.

care about and want to do after school . But i can’t be doing anything over ly creat ive and explor ing my creat ive s ide because the educat ion system doesn’t a l low i t .

Nosa 20: I ’m working on my own music at the minute. I didn’t mind school but I didn’t enjoy i t e i ther. I feel l ike i f I had a place to exper iment with my more creat ive s ide

creat ive s ide I could grow more as an indiv idual . I want to exper iment more with wr i t ing in a creat ive way to acompany my music .

5


0 1 . 0 5 . 0 1 p r o p o s e d s p a c e s r e q u i r e d

I N S P I R E E D U C A T E C R E A T E

6

INSPIRE: Origins

This part of the experience ref lects on the or igins of a journey through the beginnings of cal l igraphy in Abrahamic rel igions. Discover ing where cal l igraff i t i ’s roots l ie and how i t evolved into cal l igraff i t i .

The space wi l l consist of an exhibi t ion space, to f i rs t introduce people to cal l igraff i t i .

EDUCATE: Absract ing the stroke

This second hal f of the exhibi t ion is a l l about the abstract ion found in cal l igraff i tt i and i ts letters . Explor ing and exper imenting abstract ing the r igid letters found in Cal l igraphy.

This wi l l be accomplished through communal spaces in which people can exper iment wr i t ing out l in ing letters on mater ia l s labs they can take home with them,

This a l lows them to learn how to exper iment with the letters and the di fferent st roke var iat ions.

EDUCATE: Composit ion

This thi rd space is the place in which people learn how to apply their new found knowledge of letters to a composit ion.

This wi l l be accomplised through hanging drawing boards that are spl i t into 3 set composit ions, a l lowing people to create their own composit ions at 3 di fferent scales.


0 1 . 0 5 . 0 2 p r o p o s e d s p a c e s r e q u i r e d

CREATE: Exposed

This f inal space is where people create their own murals of cal l igraff i t i in the communal open studio. Cover ing the wal ls with paint , spray paint , s tenci ls (etc . . . ) .

This space wi l l have a vent i lat ion system in order for people to be able to create at their hearts desi re. This space intends to recreate a c i ty scape and abstract ing i t wi thin the bui lding, a l lowing people to have a taste of the dangers found in creat ing murals in c i t ies within a safe space. Al lowing them to learn the safe ways to do so

7

Immersive workshops a l low learning through audio v isual and

tact i le spacesput to pract ice new found

sk i l ls in studio


0 1 . 0 6 p l a n n i n g d i a g r a m s

OFFICES

ORIGINS

A B S T R A C T I N G THE STROKE

COMPOSITION

EXPOSING

ORIGINS

8

Farnham has got a rich history of crafts, having been a pottery centre during the Roman period due to the abundant supply of gault clay and fuel from the oak woodlands. It is during the Anglo Saxon period that Farnham got its name. ‘Fearnhamme’ in Anglo Saxon Fearn referring to the fern and bracken of the land, Hamme referring to the water meadows. Farnham went through a rocky period until the the post restoration where Farnham became a successful market town, greenwarr pottery stil l exists to this day on the outskirts of town and is now home to a vibrant creative arts university, UCA.UCA had its beginings in the Victorian era as a collection of public art and design colleges in Canterbury, Epsom, Guildford, Farnham, Maidstone and Rochester. Starting as a number of smaller art schools which were spread across Southeast England, the Surrey origins began with the Farnham School of Art (1866), Guildford School of Art (1870) and Epsom & Ewell School of Art (1896). The three schools merged in 1969 to form the West Surrey College of Art & Design, which evolved into the Surrey Institute of Art & Design (SIAD) in 1995. It is in 2000 that the Crafts Study Centre moved to the UCA campus, and has been in a formal partnership with the University for the Creative Arts according to the terms of a Joint Agreement. The Joint Agreement sets out management arrangements and responsibilities on the part of the University and the Trustees of the Crafts Study Centre.

0 2 . S I T E A N A LY S I S

s i t e h i s t o r y / o r i g i n a l u s e

9

0 3 . S I T E C O N T E X T

0 3 . 0 1 t h e l o c a t i o n

The s i te is located in the centre of Farnham town at the f ront of UCA.

UCA campus extends behind the Crafts Study Centre housing a var iety of departments. 10


0 3 . 0 2 s u r r o u n d i n g a r e a s

Entrance to UCA from left hand

side of CSC

Crafts Study Centre UCA entrance to right hand side of

CSC

Access to CSC from Castle st

Castle street Borough street bus stop

Nearest bus stop to CSC

Lion & Lamb

Train stationDowning street West street

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0 3 . 0 3 t h e s i t e

south west v iew onto fa lkner road

view of f ront of Crafts Study Centre on fa lkner road north east v iew onto fa lkner road

left s ide entrance to uni , open unt i l late (2-3 am)

main entrance to uni , open unt i l 6pm

side entrance to bui lding, secret ive hidden. Potent ia l for new entrance to bui lding

12


0 3 . 0 4 o n s i t e s k e t c h e s

13

0 4 . S I T E D R A W I N G S

A A R T N E R S H I O N D O N T D

THE B I DIN 2 HO TON S ARE ONDON N1 N

ARCHITECTS ANTIT S RVE ORS B I DIN S RVE ORS

RO ECT

DRAWIN

SCA E DATE

DRAWINN

T 020 1 22 020 1 2 2 E

C IENT

DRAWN B

CHECKED B

THE SURREY INSTITUTE OF ART & DESIGN

CRAFTS STUDY CENTRE

GROUND FLOOR PLANAS BUILT

DEC 20031:50 A1

NJC

01/12/AB/100

CHCKD DRWN

CONTRACTORS MUST CHECK ALL DIMENSIONS ON SITE.

REVISION DATE

© THIS DRAWING IS COPYRIGHT.

BEFORE PROCEEDING

DISCREPANCIES MUST BE REPORTED TO THE ARCHITECT

ONLY FIGURED DIMENSIONS ARE TO BE WORKED FROM.

- - -

To lets

L es

Ge ts

D s le B C e

F A L K N E R R O A D

G lle

Ele t l C p o

Fo e

f e oo

e te

te pe el

eo ete

s f e

REFUSEAREA

e stp

ets f e

e st

e los e

ss

ee o st te

te pe el

p e s f e

e st p e e t

E stB l

E stSt To e

el

N

St e t U o Off e

C p oloe l

A103

A103

B104

B104

0 1 2 3 4 5 et es

S le B

e stt ee

el st e

FFL 76.47

FFL 76.47

FFL 76.47

FFL 76.47

f e oo

f e oo

L ft sol to

F e es pe

FFL 76.47

.08

D106

F108

D106

F108

el st e

ets f ee st

l

l st e

L

eo ete

p

p

f e oo

10 Pe soL ft

1

3

7

B F G J

5

C E H

T 020 1 22 020 1 2 2 E

A A R T N E R S H I O N D O N T D

ARCHITECTS ANTIT S RVE ORS B I DIN S RVE ORS

RO ECT

DRAWIN

SCA E DATE

DRAWINN

C IENT

DRAWN B

CHECKED B


CRAFTS STUDY CENTRE

FIRST FLOOR PLANAS BUILT

DEC 20031:50 A1

NJC

01/12/AB/101

CHCKD DRWN


REVISION DATE


BEFORE PROCEEDING



- - -

THE B I DIN 2 HO TON S ARE ONDON N1 N

T 020 1 22 020 1 2 2 E

f e oo

f e oo

WC

op

f e oo

N

0 1 2 3 4 5 et es

S le B

A103

A103

B104

B104B

104A

103

B104

A103

FFL 80.07

D106

F108

D106

F108

B104

L

Co o

ef esp e

A ess to o ts e

l o

1

3

7

B F G J

5

C E H

10 Pe soL ft


CRAFTS STUDY CENTRE

LONG SECTION F-FAS BUILT

DEC 20031:25

NJC

01/12/AB/108

CHCKD DRWN


REVISION DATE


BEFORE PROCEEDING



- - -

NOTES

-

LONG SECTION THROUGH BUILDING (F-F)

86.70 top of steel

87.23

83.07

79.47

80.07

83.67

76.47

83.67

GALLERY

83.07

82.87

86.1286.12

82.57

76.47

TOILETS

75.22

87.923

79.22

WC

ELECTRICALCUPBOARD

76.47

80.07

83.67

83.243

78.27

81.87

LIFT SHAFT

STAIRWELL

76.47

79.643

86.2286.22

24

00

JHGFECB

14

This is the Crafts Study Centre s i te in col laborat ion with the univers i ty in Farnham, which is a town known for being a crafts town in the past th is is why the Univers i ty for the Creat ive Arts was placed in this quaint and dormant town. Uca has got a f low of students and staff c i rculat ing yet the Crafts Study Centre a lways seems to be empty. I t i s your job to turn this quiet crafts centre into a

05 . SITE SURVEY 05.01 the site

Current c i rculat ion

15

0 5 . S I T E S U R V E Y

0 5 . 0 2 a c c e s s

16


0 5 . 0 3 o p e n i n g s

There are windows through out the centre of bui lding al lowing l ight to

t ravel through the div ided space. However the larger windows are on

the South facing s ide of the window and do not reach the 3rd f loor. The

thi rd f loor and exhibt ion spaces have got very l imited l ight throughout

the space.

17


0 5 . 0 4 d e t a i l

Negat ive space is out l ined by the br ise solei l le .

The bui lding i tsel f has been bui l t according to golden rat ios and perfect squares.

The Crafts Study center is c lear ly a Modernist bui lding

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0 5 . 0 5 s u n o r i e n t a t i o n September autumn dawn 06 : 28 sunr ise 07 : 01 culminat ion 12 : 53 sunset 16 : 01 dusk 16 : 39 dayl ight durat ion 11 h 47

November winter sunr ise 07 : 03 dawn 07 : 41 culminat ion 11 : 51 sunset 16 : 01 dusk 16 : 39

dayl ight durat ion 8 h 19

May spr ing dawn 04 : 57 sunr ise 05 : 34 culminat ion 13 : 00 sunset 20 : 26 dusk 21 : 04 dayl ight durat ion 14 h 45

June summer dawn 04 : 03 sunr ise 04 : 49 culminat ion 13 : 06 sunset 21 : 23 dusk 22 : 09

dayl ight durat ion 16 h 33

19


0 5 . 0 6 s t r u c t u r e

the none load bear ing structure, is composed of a concrete f rame. offer ing the structural integr i ty the bui ldin has a ser ies of steel col lumns running through i t . Two prominent which must be taken into acount when restructur ing the open spaces are the couple running through the centre of the exhibi t ion spaces.The bui ldin is a lso equipped of a br ise sol le i l on 20


0 5 . 0 7 v o l u m e s

Second f loor Off ices, s torage and archiveFloor space: 36 sqmHeight: 107m

First f loor New crafts exhibi tedFloor space: 40.53 sqmHeight: 202m

Ground f loor Permanent exhibi -t ionFloor space: 40.53 sqm

Height: 202m

21


0 5 . 0 8 s t r u c t u r a l g r i d s

The space is going to play a longside the structural gr ids of the bui lding.

Origins : fol low gr id

Abstract ion of st roke:against gr id

Composit ion: fol low gr id

Exposed: against gr id

22


0 5 . 0 9 p o t e n t i a l f o r c h a n g e

23

The problem with the bui lding is that there is very l imited space therefore i looked at ways of expanding spaces in order to create larger surfaces in bui lding.

2nd floor stairwell extending floor 1st floor 2nd floor


0 5 . 0 9 p o t e n t i a l f o r c h a n g e

24

0 6 . C O N C E P T

0 6 . 0 1 . 0 1 t h e p r o c e s s c a l l i g r a f f i t i

ca l l igraff i t i

1 . learning the Fraktur Majuscules

2. abstract ing your st roke

3. explor ing stroke combinat ions

4. creat ing a cal l igraff i t i composit ion

5. develope and explore

25

cal l igraphy

1. learn the alphabet 2. understanding the shapes 3. keeping to the grid proportions 4. bi -direct ionnal i ty when mixing scr ipts

0 6 . C O N C E P T

0 6 . 0 1 . 0 2 t h e p r o c e s s c a l l i g r a p h y

26

0 6 . C O N C E P T

0 6 . 0 2 t h e h i s t o r y o f c a l l i g r a p h y

Cal l igraphy was in i ts beginings used as a way of c i rculat ing rel igious text in the Middle East , speci facal ly Abrahamic rel igions. There are three main Abrahamic rel igions and their a incient languages in which they were t ranscr ibed are Judaism (Hebrew) , Chr ist iani ty (greek, lat in ic) and Is lamic (aramaic) .

Is lam in speci f ic has a fascinat ing relat ionship with cal l igraphy due to their t radit ional belei f that pictoral representat ions of humans, animals and objects was idolatrous which is a heret ical blasphemic representat ion. Therefore cal l igraphy emerged as a most populat express ion of representat ion in art and architecture.

06.03 the evolut ion to cal l igraff i t i

Cal l igraff i t i evolved f rom cal l igraphy’s t radit ional handwri t ing into an abstracted, sty l ised text f i rs t seen in Nei ls Mulmans work. In Tunis ia cal l igraff i t i was featured prominant ley as an image of the Jasmine revolut ion which mainly featured poetry in the form of cal l igraff i t i .

0 6 . C O N C E P T

27

0 6 . C O N C E P T

0 6 . 0 4 m a t e r i a l s n e e d e d f o r c a l l i g r a f f i t i

spray paint graffiti marker

graffiti penscalligraffiti brushes paint brushes

28

0 6 . C O N C E P T

0 6 . 0 5 . 0 1 c o n c e p t u a l c o l l a g e s - a b s t r a c t c o l l a g e o f s p a c e

C A L L I G R A P H Y - C A L L I G R A F F I T I - S T U D I O S O F C R E AT I O N

Histor iacl ly one could not preserve the spoken word without i t being wr i tten also. The wr i tten word appeared in order to preserve the spoken, therefor i t i s only r ight for th is space to be one in which people can develop their wr i t ing sk i l l s and incorporate them into the word craft of Cal l igraff i t i .This space is dedicated to explor ing the roots of the art of cal l igraphy in regards to i ts or igins in Abrahamic rel igions. And how cal l igraphy evolved into cal l igraff i ty seen through the work of Niels Shoe Meulman, El Seed, Yazan Halwani , Luca Barcel lona, Retna, Usugrow, Khadiga El -Ghawas and many more. This a l lows a basis on which to bui ld a design on.

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0 6 . C O N C E P T


ORIGINS

The birth of cal l igraphy.This space explores the origins of cal l igraff i t i in cal igraphy . This space is too feel grand and free. Structured and fol lowing the spat ia l gr ids, i t wi l l be minimalist and structured . Less is more when i t comes to this space lett ing the art ta lk for

i tsel f

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0 6 . C O N C E P T


ABSTRACTING THE STROKE

Ventur ing into cal l igraff i t i . This space is dedicated to the f i rs t s tage of cal l igraff i t i ,abstract ing the stroke experimenting with letters and colours . Therefore the space is made to be asymetr ic disregarding the structural gr ids of the space .The space is to feel chaotic and colourful l . I t i s s tart ing f rom this space that people wi l l begin learning sk i l l s re lated to cal l igraff i t i . This space in part icular wi l l a l low people to t race out the letters displayed.people wi l l be able to draw out the indiv idual letter through the use of a l ightbox display ing the letters onto the mater ia l of their choice. Al lowing them to understand how each texture wi l l feel di fferent to wr ight on.

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0 6 . C O N C E P T


COMPOSITION

This space is dedicated to explor ing the gr ids used in cal l igragr i ff i t i composit ions. This space l inks back to i ts or igins in cal l igraphy, th is is seen through the use of st ructured, controled forms.People wi l l be able to draw out their composit ions on glass drawing boards hanging f rom above. This drawing board is spl i t into 3 di fferent sect ions of di fferent s izes a l lowing them to exper iment composit ions at di fferent scales.

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0 6 . C O N C E P T


EXPOSED

Exposed cal l igraff i t i .This space is dedicated to exhibi t ing cal l igraff i t i f rom famous art is t , showing how this is an elevated art not vandal ism. people can s i t back and enjoy this creat ive space in order to explore and exper iment with their new found sk i l l s .

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0 6 . C O N C E P T

0 6 . 0 6 c o n c e p t u a l m o d e l s

explor ing shapes and div is ion space.

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GRAND

OPEN

0 6 . C O N C E P T

0 6 . 0 6 p r o p o s e d s p a c e s r e q u i r e d - m o o d b o a r d s

0 6 . 0 6 . 0 1 o r i g i n a t i o n - e x h i b i t i o n s p a c e

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URBAN CHAOTIC

ASSYMETRIC FORMS

DISREGARD STRUCTURAL GRIDS OF BUILDING

0 6 . C O N C E P T


0 6 . 0 6 . 0 2 a b s t r a c t i n g t h e s t r o k e - w o r k s h o p

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STRUCTURED

CONTROL

FOLLOWS STRUCUTRAL GRID

OF BUILDINGGRID HIGHLIGHTED WITH TUBES

0 6 . C O N C E P T


0 6 . 0 6 . 0 3 c o m p o s i t i o n - w o r k s h o p

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CITY SCAPE

CONSTRICTING GEOMETRIC

0 6 . C O N C E P T


0 6 . 0 6 . 0 4 e x p o s e d - s t u d i o s p a c e

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0 6 . C O N C E P T


0 6 . 0 6 . 0 5 a p r o a c h t o s i t e

TOWERING

COLOURFUL

URBAN

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0 7 . O R G A N I S A T I O N

0 7 . 0 2 f a c a d e a n d e n t r a n c e


0 7 . 0 1 z o n i n g

ORIGINSABSTRACTING THE STROKE

COMPOSTITION

facade / entrance opt ion 1

facade / entrance opt ion 2

ORIGINSEXPOSED

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0 7 . 0 3 . 0 1 p l a n n i n g

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0 7 . 0 3 . 0 2 p l a n n i n g

0 8 . V I S U A L I S A T I O N

ELEVATION

FIRST FLOOR PLAN

GROUND FLOOR PLAN

exposed

ventilation pipes going up to first floor

origins upstairs balcony

composition

drawing boards

abstracting the stroke

origins/entrance

lightbox and tables

facade

window - front wall of

building

ladder to go to balcony

structural beams

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1

2

3

4

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material s labs to draw on stored in table s lot into table top

l ightbox’s height can be adjusted

you can take material s labs away with you

drawing board height can be adjusted

UV tube l ight

can create standing or s i tt ing

composit ion act iv i ty drawing board abstract ing the stroke act iv i ty l ight box mater ia l s labs diagram

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O R I G I N S / F A C A D E

equipement hi re

sneak peaks into di fferent areas within bui lding

entrance into abstract ing the stroke

entrance into exposed

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A B S T R A C T I N G T H E S T R O K E

void f rom exposed - safely spray paint ing (wear ing harness and rope hooked into a ser ies of bolts in the wal l )

equipement hi re/recept ion

tables to draw on mater ia l of choice

l ightboxes

composit ion in background

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C O M P O S I T I O N

end of abstract ing the stroke

vent i lat ion pipes dable as seats

drawing boards made of glass - see through

uv tubes

exi t to cont inue journey upstai rs

void f rom exposed (an area to create in)

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E X P O S E D

continuation of tunnel

open spaces to create in

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0 9 . D R A W I N G S 0 9 . D R A W I N G S

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0 9 . D R A W I N G S 0 9 . D R A W I N G S

Documents

CALLIGRAFFITI - UCA Student Showcase · and Dorothy Larcher’s work, but most importantly to house the work of the crafts community so to not be forgotten. Studied and enjoyed to