Play is essential to development, because it contributes to the cognitive, physical, social, and emotional well-being of children and youth. It's so fundamental to every child's development that it has been recognised by the United Nations High Commission for Human Rights as a right of every child. Play allows children to use their creativity while developing their imagination, dexterity and physical, cognitive and emotional strength.

While much of the design elements in BrutKids are bespoke, there are key pieces through out that have been sourced due to the research already involved in their stimulative design and how they act as supporting methods to help with disabilities.

The concept is to design a multifunctional recreational play space that balances aesthetic and child friendliness, whilst the functionality of spaces within the site and the activities that would be undertaken all the while providing infantile stimulation with taste that isn't plastic surfaces and bold primary colours. The project suggest an organic multifunctional recreational play space that challenges the risk adversity through materiality and reimagines our approaches to design for child's play.

I intended to bring a strong connection between the geometric block shapes found in soft play environments with those that are found in Brutalist playgrounds in Britain which demonstrates anti-risk adversity successfully.

Furthermore, the outdoor space is a direct response to the lack of community outdoor garden spaces in the East-End of Glasgow and by providing a stimulative environment that educates the users on outdoor stimuli. This theme is carried through-out with an organic aesthetic and palette of green which lend the space an air of calm and serenity regardless of how chaotic the space might get.

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By 2050, global food production will need to increase by an estimated 70% to match the current trends in population growth. The UK, for example, uses 72% of its landmass for agricultural practices but imports nearly half of the food it consumes. To improve domestic food security and prevent natural habitats from being destroyed for new farmland, countries such as UK need to consider new methods of food production.

Vertical farming presents a unique opportunity to grow food locally on already developed land. It is a practice of producing crops and greens in vertically stacked layers, inclined surfaces or integrated in other structures in a highly controlled environment without the use of sunlight or soil. It offers an alternative to traditional agricultural methods by reducing distribution chains to offer lower emissions, providing higher- nutrient produce, and drastically reducing water usage and runoff. Unlike crops and greens exposed to the elements outside, vertical farms are not subservient to the seasons, thus promising year-round production and greater amounts of produce.

This project will look to incorporate vertical farming within a space and propose a new idea of vertical farm allotments to engage and gather like minded people providing skills and knowledge to practice indoor farming within the city. It will also include a retail space which allows the customer to purchase locally grown produce alongside a restaurant that promotes the use of new sustainable urban farming; it would also cater to local businesses. Whilst taking the customer on a journey, the space will ultimately educate individuals. It will seek to blur the threshold and explore the boundary between the intersecting spaces and processes though the layout.

The aim is to create a place that brings awareness of food production and distribution within the city. To engage and educate through non traditional method of indoor farming and promoting local and sustainable food production. This proposal essentially seeks to create an innovative space that could be a prototype of future farming incorporating the idea of allotments within a vertical farm. Providing city dwellers with an opportunity to learn skills and grow food locally.

Email: alisejoepa@gmail.com

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The Storage Theatre is a project exploring the ways in which both artists and archaeologists understand the world through the material traces of the past. Using the act of excavation as a metaphor for the experience, audiences will move through the space on a theatre show of discovery, a story being revealed in such a way as a story is revealed to an archaeologist conducting an archaeological dig.

The premise of this project is to break down the traditional framework of a gallery; it questions whether in the current methods of preservation, categorisation & display of artefacts, are we preserving their stories or simply their material qualities?

Through the treatment of the old garage building in the south of Glasgow as an archaeological artefact itself, forms and materials have been excavated and incorporated into the interior spaces. The result, is the creation of a new typology of museum, a sensorial engagement with curiosities, unearthing stories and connections to understand how we as humans collect our knowledge of the past, to look to the future.

"To live is to leave traces" -Walter Benjamin

The constant motifs running throughout the design of the space have been taken from the building's facade in particular the Art Deco Tower that stands at the entrance to the building.

The analysis and investigation of the site has been approached much like an archaeological excavation, pulling from it artefacts I saw value in, pulling something precious from ‘the rubble’. The site has been treated as an archaeological artefact in itself and the excavated forms have been integrated into the interior as an intermediate language dividing the activities. The shapes have been extruded and abstracted to inspire various display techniques for artefacts as well as furniture pieces and thresholds in the space.

These structures explore the notion of artworks being ‘put on a pedestal’, whilst a necessity in a practical sense in exhibition spaces, these structures interrogate the conventional cube form of the plinths usually exhibiting these objects. Inspired by the same excavated forms that influenced the permeant displays, these pedestals allow for a more neutral frame for the works, whilst being in keeping with the archaeological narrative of the space.

The pedestal exists as a place holder, a levitation device separating physical contact with the object and the ground, made using 20mm MDF the forms can be painted different colours according to an exhibition thematic or kept a light grey to become an extension of the concrete floor.

“In the grammar of display, a book behind glass provokes a conflicting series of concepts, of both transparent and an opaque nature.”

-Niekolaas Johanes Lekkerkerk, ‘Book Behind Glass’

The Storage Theatre Library functions as place for visitors to gather without expectation or requirement, a site for knowledge, development and exchange. The glass box of the library is softly lit from within, radiating a warm glow out into the surrounding gallery space. Set between, in its own liminal space between two functionalities the library appears to be floating, entry points carefully considered in order to lead the visitors on a journey before arriving.

Email: lucymarykerr@hotmail.co.uk Website: www.lucykerr.myportfolio.com Instagram: @lucykerr_design

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My concept involves the curation of a space that explores some of the different feelings and agents within the psyche through our environment using interior and architectural elements and spatial zoning such as, windows, stairs, walls, doors, hand rails, ceiling, floor etc. to start placing detail on these areas of materiality, scale, structure and sound, to accentuate how people physically experience and how people communicate through them. From this I develop more of an understanding of the transitional and neutral spaces, the spaces to wander like a flaneur. The perceptions we have towards these elements is perhaps overlooked whereas they have such an impact on how we experience and perceive our environment. Carl Jung’s model of the psyche involves a unique spiritual and religious outlook which I want to be present subtly within my space.

A place to experience and reflect upon the different archetypes that make up our conscious and unconscious self. The space consists of ‘shared spaces’ and ‘spaces of solitude to accommodate both of the introverted and extroverted personality types as well as encourage dialogue and interactions between our ‘self’ and the ‘other’.

Thresholds: The point where each experience starts.

Each threshold is different for each space and each experience. The threshold represents the gateway transition between the different archetypes in the mind which correlate to the experience.

Using the spatial elements as a bypass of communication. This can be achieved through consciousness and emotion, through gaze, body language, shared thought, collective unconscious.

The elements in the space have been designed to: – Encourage silent and verbal dialogue – Create interactions between the users – Create relationships between the spaces – Create thresholds into the different spaces

The building has been divided into several smaller spaces each consisting of a different ritual for the user to experience. The ground floor contains spaces for practicing rituals in solitude whereas the first floor contains spaces to practice group rituals.

The Archetypes – Ego – Persona – Self – Amina/Aminus – Shadow – Personal unconscious – Collective unconscious

The different spaces will be an exploration of conscious and unconscious spaces, performance spaces and solitude spaces with a crossover between the two, being alone in a performance, being with somebody while being alone.

In this I want to explore the evolution of consciousness in relation to the evolution of language and how we can communicate through experience in a space, a space where we can show what’s in our minds feelings that we can express through our everyday surroundings, the proxemics of space, altering the body language, posture, gesture, facial expression and eye contact as a means of unconscious communication through careful curation and alteration of spatial elements. The space will host the opportunity to reconcile and confess feelings, a space offering questions to be answered, through and to then unite in communion through performance, shared experience and shared space, to then confirming and recognising as a way and revelation of the feelings through maybe speaking when ready.

Email: caitlin.butkev@gmail.com

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Studio Dwell is a Glasgow based centre for creative and collaborative practices. The aim of the centre is to be a place of varied learning opportunities for all, set within a unique environment. The site challenges typical models of working together, ensuring that practicing artists have stable spaces in which to engage with both collaborative and community - based practices, the latter of which focus on skill-sharing with an interested public.

The site acts as a Third Space, othered from home and work, it is a place of relaxation, rest and creation. It aims to bring people together through an extensive programme of artist-led workshops and diverse learning opportunities. Aside from facilitating learning, Studio Dwell seeks to explore alternative therapy techniques including art as therapy and varied sensory experiences to aid with stress amongst other dispositions. Furthermore, the site consists of members studios, artist residencies, workshop spaces, exhibitions and events, yoga and meditation, music rooms, sensory lounges, and a Garden Cafe. This diverse mix of activities under one roof aims to appeal to all, engaging all aspects of the local community.

Studio Dwell encourages visitors to bring their stressful days to the site, expelling negative feelings through creation and learning.

Public engagement is at the heart of Studio Dwell. Acknowledging that Art institutions can often be exclusive and intimidating, the site attempts to dispel these thoughts and create a warm and welcoming atmosphere for all levels of interest in creative practices. To achieve this, the spatial planning of the site is scattered, offering freedom of movement and encouraging visitors to explore the entirety of the site, catching glimpses of activities they may not usually.

The 3 floors of the site become a theatre of art, with activities and events running horizontally and vertically. The visitor is further guided through the space by the decomposition of libraries and lounges located on each floor providing places to stay and places pass through. The site encompasses both and in doing so gives the visitor the option to pause or continue.

Mindful drawing techniques were used as a tool in the early stages of this project. During October and November, I practiced drawing before working. Drawing abstractly and freely what I felt at that moment. The entire space has been designed using the shapes from these drawings. The forms have been translated into the materiality, architecture, zoning, interior details, and the furniture.

‘To make art is to wake up in a state of craving to discharge resentment, rage, it’s not a linear progression, it goes like a clock, every day when you reach a certain spot in the clock, it recurs. It’s a certain rhythm occurring every day. And the making of art has a curative effect.’

–Louise Bourgeois

‘The ultimate meaning of any building is beyond architecture, it directs our consciousness back to the world and towards our own sense of self and being.’

– Juhani Pallasmaa

The rooms have been inspired by phenomenological architecture and the importance of this movement. The study of consciousness and experiences is phenomenology, literally meaning the study of ‘phenomena.’ Sensory experiences and sensations are perhaps the most easily understood meaning of phenomenology. Perception, thought, memory, imagination, emotion, and desire all build our overall experience of a situation and space. Phenomenology of Architecture is the philosophical study of architecture as it appears in experience.

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We are living in an era of great changes. The pace of modern people's life is too fast, and the pressure on their daily life and work will be greater. There is no doubt that fatigue is a pressing concern today. The Reel Hotel is an interactive hotel with functional integration space; a luxurious environment with eclecticism while showcasing the elements and sense of the old theatre from different period.. The concept of the city club is "a community which have private leisure environment and also an environment of public entertainment separately." for those people who need healing their body and mind. It is not only a place to rest but also a safe haven for people to feel comfortable and relaxed.

The large use of flannelette in this design was inspired by the decoration features of this building, and the curtain opened before the theatre and movie theatre gave me great inspiration. This element appears in my design works, full of warmth and nostalgia. The decorative background of the lobby front desk uses full-width green flannelette so that guests can feel general and charming amorous feelings from entering the main door of the hotel.

When you enter the lobby, what you see is a reception and mini café, which have similar shapes but carry different functions. The inspiration for the modelling comes from the popular style in the middle of the 20th century. I connected the ceiling and the table top with brass strips. Brass strips are very popular design elements in different periods. Brass strips have an inherent sense of sophistication and are compatible with retro and fashion. The lobby of the hotel seems to have a lasting appeal of time fermentation, but it is permeated with a strong flavour of the times. Brass strips are properly applied to the front desk, which increases the overall consistency.

After getting off the elevator, guests enter into the restaurant and see the selection area of the bar, which provides the freshest food for the guests, as well as the best wines, champagne, spirits and soft drinks. The dining room is divided into three areas, four delicate bar tables opposite the bar counter are purely for drinking; the right side of the bar counter is a large dining area, including a breakfast buffet area; guests on the bar chair can enjoy delicious food while watching the chef making food on bar. Several areas are interconnected without affecting each other.

Email: ann96@163.com

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The Seed Bank Project is a series of spaces, which create an interface between the public and private domain through a physical conversation of space and an overlapping of typologies; all of which embody and seek to communicate the principles of ecology, conservation and sustainability through the act of archiving and storing.

The centre is built around the conservation of gymnosperms (seed-producing) plant species, specifically those indigenous to the UK and more specifically Scotland. A seed bank is typically a publicly funded private space - a series of highly specialised laboratories and storage facilities which are subterranean, out of sight and out of mind. However for its primary objective of conservation and preservation to be sustainable, and ultimately successful, such a space needs to be transparent so the public understands the importance of conservation.

My proposal is an intervention, whereby the vent becomes the host for a series of new private spaces which collectively constitute the seed bank. With minimal physical alterations, other than to address structural or environmental issues, I have retained the original integrity of the railway vent.

The project is hinged on the transparency between public and private space, in the context of the conserving gymnosperms (seed-producing) plant species. While the seed bank, hosted by the railway vent, is reserved as a private space this first garage unit is its public face. Each of the new spaces; the Entrance, Workspaces, Seed Drying Room and Seed Storage Room are built to fit, and in that sense are unique. Although independent from each other and the railway vent, each of the new remodelling establishes a strong relationship with the host space; responding to its architecture to define positioning and form.

A large part of my project proposal are the workshop spaces. These occupy two of the units within the first garage block, and contain a library, auditorium, workstations, office spaces and private study rooms.

These workshops invite the public, as well as school groups and other institutions, to actively engage in the principals of the centre. This public space aims to run parallel to the private Seed Bank, educating on the function and importance of its running.

“Consequences of the disregard of natural systems are now being felt”

- Mauro Baracco and Louise Wright

Email: mrjanwright@gmail.com Website: www.janwrightdesign.com

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'In the popular mind, the word 'Thailand' is synonymous with 'temples' of almost overwhelmingly fairy-tale appearance, exotic structures whose purpose and significance are not immediately evident to the uninitiated.'

– Rita Rigis

According to Ruethai Jaijongruk, an honoured Thai architect, 'lord Buddha did not mention about the principle of Buddhist architecture however, the works that we have seen through the period of time were the results of artists' imagination and personal faith'. Jaijongruk also mentioned that Buddhist architecture in Thailand was not truly Buddhist. Therefore, I want to use this opportunity to explore Buddhist temple in a more universal context and relate it to the site.

This temple is Hinnayana Buddhist. The space will be designed on Hinnayana ceremony and activities.

Symbolic religious interpretations can clearly be observed since the early cave temples. The ornaments that adorn the temples are based on the the artist's imagination to praise the lord Buddha and educate the people about religion as Ruetai. However, now that people's behaviour have changed, the temple may need to reflect rapidly and change the context along with globalisation. It can be inferred that religion in the past until now was educated passively through decoration.

'And surely you have seen, in the darkness of the inner most rooms of these huge buildings, to which sunlight never penetrates, how the gold leaf of a sliding door or screen will pick up distant glimmer from the garden, then suddenly send for than ethereal glow , a faint golden light cast in to the enveloping darkness, like the glow up on the horizon at sunset'.

– Jun'ichirō Tanizaki

Email: nattanuch.suk@gmail.com

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This year long project explores the physicality of Data and the interaction between us, our land and the constant streams of information that surround us. Through research, combining spatial experience and data visualisation incorporating and exploring a single site in Glasgow I have developed an experiential space in which users can explore what is meant by the term data, whilst learning about the social and environmental impact this constant flow of information has on us and our spatial experiences.

The problems associated with the storing of our personal information appear to have been solved through developments in technology, but where does this information end up ? Data is personal to each and every one of us however, who really has access to our information once we simply put it away into ‘the cloud’? What does this data look like in a physical space and how will creating more and more data effect us as a society, impact our landscapes and the environment we seek out to protect.

We can code and store almost everything, including our own DNA. As technology advances faster than ever before it is of key importance to protect ourselves and each other as well as the environments that surround us. Can these developments encourage us to reconsider how we design for the interiors we immerse ourselves within? Looking to create new opportunities for art, design and architecture this project explores the possibilities of interior design during this current period of digital uncertainty looking to possible futures by speculating on environments and interrogating the materials, textures and physicality of the world we think we know.

Email: bliseorr@gmail.com

Website: https://sketchfab.com/bliseorr