Ares Ltd

Their focus is "tailored design that enhances the environment" with a focus on design and planning. They have a diverse portfolio ranging from well being to schools and public realm. 

I think their use of graphics is simplistic but unique as it seems a lot of their rendering is from twin motion with whited out characters. For me this does not reflect the application of projects and can be misleading, I believe it is critical to have the people in renderings to reflect the context of the site not only to reflect the population but also to empower existing ethnic groups that the space is for them too. 

One of their designs is Clarence fountain on Boots corner in Cheltenham, objectively it is a successful furnitechture as people constantly use it come rain or shine and it is utilised by a diversity of people (from my own personal witnessing). However, subjectively I disliked the use of a laser cut symbol of a wheel chair user in the cladding of the seating, which supposedly is to indicate the seating area for people with wheel chairs. In actual fact people with buggies use it more often and those with additional, physical needs don't use it at all, it is in my opinion that this was an unnecessary detail that is quite obtrusive. We now have communities with a range of disabilities hidden and obvious, a sign is not appropriate to dictate who should sit where, rather it should be a right offered to individuals in which a sign is not necessary for this. 

Overall Ares have a simple but stern outlook on landscape architecture in which they do not seem to derive from this, this is admirable. I do not agree with all of their design choices but this does not deter from the fact that they look (and from talking to two of the employees) seem like a down to earth practise. 

Boots corner

Cheltenham Minster - Ares Visit

Ares Ltd kindly volunteered to take UoG students on a tour of one of their most recent projects- Cheltenham Minster.

The overall project aimed to regenerate the area that has been in planning for over 30 years, as there are adjacent container building that want to become the 'Silicone Valley' for Cheltenham especially with GCHQ not too far away and Cheltenham's issue with young people getting degrees from the local university then leaving Cheltenham. 

This was a first look into a real life small-scale project, it was A LOT more complicated than one would initially think. For one there were many parties involved; Cheltenham council, the diocese, Gloucester city council, highways and landlords etc. Not to mention archeologically sensitive graves and tombs no more than 200mm under ground. And considering who they employed and what the company represents as this may have implications for the project. 

Fortunately there were some positives in the project such as the retainment of old marks on the floor deriving from the 1600s showcasing standard measurements for the sale of fabric, the initial bricks on the edging of the pavement and a slight change in anti-social behaviour. Overall it is a very interesting project with promising outcome!

Urquhart and Hunt

Our style is naturalistic, romantic and free with special consideration given to plant associations and careful use of natural materials appropriate to the local vernacular and landscape culture of the area.

They promise a bespoke design for every project with this promise being reflected in their focus on small-medium projects. 

Their tendency to a "naturalistic, romantic" feel is reflected in one of their most recent designs at Central Cambridge Mosque. They prioritised sensitivity to this religious building by studying Islamic gardens, bringing in an expert and researching before deciding on a design. The planting reflects this sensitivity and offers a complimentary nod to not only the masjid but what it represents as well with its elements of tranquility and peace, reflecting the true representation of Islam. 

Design fiction

Julian Beecker- a globally respected designer in emerging technologies, design and culture. 

He began the movement 'design fiction' in which he intertwines design and fiction to create evocative artifacts, these express change. 

This concept, it is used as a tool to develop ideas and shape the thinking of designers, technologists, engineers and many others. It is a way to explore the unknown in a less abstract manner through tangible prototypes.

 

Dynamic composition - page layout

 

Task: "What you need to do is create a composition that is dynamically interesting and visually strong using all of the components, it is up to you how you do this. You can resize, adjust, reformat the text, choose the fonts. It is an A3 page layout in landscape format."

I thoroughly enjoyed this task, my process was to first get all the content on the page then play around with the positioning. I had two layouts before this final layout in which, after completing them I looked back at the brief and focused in on the word 'dynamic'. What does that mean to me? I kept thinking about movement, buzz and some avant-garde young, fresh French company trying to advertise these lights in a magazine.

This drove my design and layout. 

Time taken: 40 minutes in total.

FEEDBACK: 

I was told this was a little cluttered and there was too many things going on, it was inferred that this is my outlook when taking in information which I do not disagree with. I have tendencies to grab onto as many things as possible and condense them in order to keep hold of them. 

This critique is strongly reflected in my portfolio which I am currently working on and will take on board that it needs condensing a lot more than I initially thought. 

Cracknell

Identity as a practise:

"Distinctiveness, responsiveness and sustainability combined with uncompromising professionalism make us the preferred choice for high-profile projects.  

We believe landscape architecture is about creating community and culture as much as it’s about creating spaces. Our designs centre people in their environment, improving the lives and wellbeing of the communities we shape. Everything that we do is intended to improve the lives of the people who will use the spaces we design, even when details that we labour over often go unnoticed. 

Our design process starts with the client's vision and ensures to hold the needs of people front and centre. The initial concept stage brings together some of the brightest and most creative minds to translate the client’s requirements into a vision to be executed. 

Our specialist expertise allows us to push the boundaries of the brief, explore new ways to innovate and find a fresh viewpoint on elements including shapes and materials."

I always found it difficult to pick out the subliminal meaning of practises' websites. What are they getting at? What do they really mean? Are they true to what they're suggesting?

Now from looking at the chosen pictures, colour theme and branding it is slightly easier to identify their work culture, the importance of collaboration, the type of methods they use and aspirations for the company. Cracknell I think presents themselves very well and they very much do design for civic spaces that embraces the culture present. 

For me these are important values, the more I look at practises the more I am able to identify what is important to me a designer and the ethics that are important to me. 

Overall, their work comes across as very much commercial, sleek and modern. But their values of being people-centered is evident regardless of the environment, as seen in this urban and beach front environment.

Horatio's garden

 National garden scheme

Creating and nurturing gardens targeted towards those with spinal injuries.

"The charity is named after Horatio Chapple. Horatio volunteered at the spinal centre in Salisbury and had the vision of a garden for all those connected to the centre. Horatio’s life was cut short in 2011 at the age of 17. For Horatio’s family, friends and those touched by his life, these evolving gardens, which offer sanctuary, improve wellbeing and become so significant to those affected by spinal cord injury, are his legacy. Dedicated head gardeners, staff and volunteers ensure the gardens look incredible all year round as well as organising activities and events, including garden and art therapy, music concerts and plenty of tea and homemade cake." National garden scheme

Horatio's gardens along side Maggie's centers are exemplary gardens that target enhancing the standard of life for patients and bettering their mental health. My dissertation on the importance of healing gardens for children is only highlighted by these precedents, it is proof that there are ongoing projects implementing the theory of biophilia and Ulrich's findings but this is something the world needs more of. 

Instead of donations and volunteers in these gardens, it should be seen a necessity for hospitals to have healing gardens where budget is allocated and jobs are created to maintain and design these gardens as a standard across all hospitals. 

It is pleasing to see they do exist but disappointing that they have not yet received the recognition they so dearly deserve. I hope healing gardens are given a place in the health care industry within my lifetime. 

Bjarke Ingels

Bjarke is the current talk in architecture for his outlandish and sustainable designs. Most architects would only dream of having their initial, creative conceptual ideas taken to construction but the reality is, there are issues of funding, policy, planning permission, client preference and so forth.

However, Ingels marches right through these concerns, not allowing them to hold him back. From watching some of his interviews, his ego is ever present but this is arguable justifiable not only because of his current fame in architecture but his relentless ability to drive his designs right through the RIBA phases. 

His contribution to the ACE industry:

Hedonistic Sustainability is a term he coined together which aims to make the idea of sustainability more approachable to everyone. Bjarke’s aim was to prove that design can be made economically profitable and environmentally sustainable. 

Bjarke urges people to stop thinking about buildings as masses or structures, but instead as ecosystems that we thrive in. 

Bigamy- Instead of remaining faithful to a single idea, Bjarke urges designers to connect more than one idea together to collectively create what is most desired. 

This new genre of architecture, Bjarke believes, can turn pure fiction into hard facts. Meaning whatever you dream of can be a reality. He takes multiple elements that might not seem to fit together and puts them together.

His determination and change-maker attitude is an inspiration for graduates entering the industry.

A weird dream is crystallized into concrete reality

Bjarke Ingels

Petra Blaisse, et al and Claude Cormier and associates PART 2

 Claude Cormier, associates' d'Youville, Canada

The historic square forms meeting points for significant roads and connections to the city's waterfront. It has had been designed carefully in response to the political contect as there is archaeological and cultural importance. 

I admire this design immensley, I feel it responds to the existing conditions appropriately with the used patterns and colour palette. The paths are particularly favorable as the timber boardwalks represent connections to domestic areas such as homes, the concrete represents commercial pathways like restaurants and the granite/limestone is for institutional places like museums. The shape of the existing site fits with the form and patterns of the design. 

His philosophy was "if you do too much it just becomes noise" with his inspiration deriving from a textile pattern. 

Overall, the difference in interpretations, conceptual thinking and site context are interesting to compare and consider when viewing the similarities of the design. For me it is representation of 'no 2 designers are the same' though it is a similar product with similar purpose, the theory is completely independent of one another!

Petra Blaisse, et al and Claude Cormier and associates PART 1

I came across these designs which are very similar in form, shape, pattern and colour palette however the concepts and contexts differ entirely as they are, two separate projects. 

Petra Blaisse, et al's Biblioteca degli Alberi, Milan

The park is intended to be an 'urban connector/ campus and botanical garden' with the paths acting as connections with varying heights, stretching across the square. Specific trees were chosen to reflect the 'botanical garden.' 

In my view, the space looks and may feel disjointed and quite broken. The use of linear lines feels very formal and less community-friendly. I don't think the layout/ patterns responds to the site shape/ context. I believe it could have been a lot more creative and explored more patterns. The 'botanical garden' element feels like an after effect of tree placement rather than intentional as there does not seem to be many within the landscape. 

Petra's inspiration derives from connection with a linear view and perspective change through heights. 

250 things a landscape architect should know

 

Though this book reads like a eulogy for landscape architecture, Petra Blaisse's declaration was very provoking in my view. 

The reference to microscopic inhabitants of the soil being 'springs and gears' I found to be especially true and believe that more people should be educated on this. Her declaration could almost be summarised as 'Don't design spaces using face value' and I am not just talking about the common intangible aspects like social impacts and wider environmental impacts but, the tangible that ironically we don't see so much; the underground. 

Pedology and the community here is something that I am excited to learn about more and believe it will direct my designs in a more sustainable manner, beyond the scope of human impact.