Author: Gabby Keeble

To address the serious issue of safety whilst running, my work centres around creating a safer experience for people who run outside and alone. With intention to mitigate unwanted attention and harassment, my work focuses upon creating a safe space and central hub within the area of Deptford. Although I have focused my work primarily on this location, I intend to propose my concept as a larger initiative to make the streets of London safer as a whole, with intention for my proposal to be installed nationwide.

My pop-up design proposal series function as a panic box, targeting users who need immediate help. The RunSafe Pod series allows users to utilise a subscription service which grants access to the pods alongside other amenities, such as my permanent location initiative The RunSafe Hub. My designs intend to utilise an innovative business model alongside bespoke and striking spatial design to create a unique space for London runners. My permanent location space combines typologies to create an overall ‘Run Safe Hub’, which specialises in running empowerment by creating a true runners paradise of retail, but an overarching inclusive environment, where the ultimate intention is to increase runner safety through a collection of initiatives.

References

Figure One.  Keeble, G. (2023). Running in Deptford [Photograph].

Figure One.

To initiate my design process, I started at observing the motions involved in running and investigating the shapes that I could create as a result of this. Analysing these movements revealed the repetition involved with the sport. I further formalised these figures by distorting the shapes and repeating them to mimic the running sequence. Using the repetition of these movements is a concept which will be interesting to explore further within my work.

Figure Two.

I contextualised the inside and surrounding exterior of my space by creating a three-dimensional model of the building. Producing a 1:100 and 1:200 scale model allowed me to visualise the interior within its surrounding context, which for my project which focuses on running, is crucial. To begin creating my spatial design I sketched on top of these images to understand how I can take my interior design out and through to the exterior.

Figure Three.

Using my previous sketches, I continued to visualise my space and design specific details, such as the changing rooms. I continued creating my space three dimensionally, and I modelled a 1:200 maquette as my first iteration of the space. I further developed this design by photographing it and sketching on top, to create my final design proposal.

References

Figure One.  Keeble, G. (2023). Design Process Figure [Photograph].

Figure Two.  Keeble, G. (2023). Design Process Figure Two [Photograph].

Figure Three.  Keeble, G. (2023). Design Process Figure Three [Photograph].

The Mike Nelson: Extinction Beckons exhibition made me feel a plethora of emotions whilst travelling through the many installations, with some key emotions being confused, scared and uneasy. His installations were eery and dark, and truly emitted an atmosphere of being other-worldly which caused me to feel as if the world had been abandoned.

This atmosphere was especially prevalent in his ‘The Deliverance and The Patience’ installation, where I felt lost and claustrophobic whilst travelling through the labyrinth of rooms and corridors and not being able to find the exit. The rooms within this installation were disjointed from one another, with some being bare and only containing sleeping bags, and others being full of objects and appearing like a travel agent. What connected the rooms together for me, however, was the old and dirty nature to all of them, which made my experience of this installation a quick one as I hurried to find the exit.

(Mike Nelson: Extinction Beckons (2023))

The environments within each of his installations appeared quite different from one another visually, but the emotions of abandonment I felt as a viewer were quite similar throughout. Although I did find some installations such as the ‘Triple Bluff Canyon (The Woodshed)’ more enjoyable, because they provided a lighter environment which was a nice contrast to the darkness which came before.

It is ultimately the uneasy emotions I felt throughout my visit to this exhibition which I think makes it so successful. I believe Nelson’s intention is to create this conversation with the viewers, and to spark a discussion as a result. This exhibition showcased exactly what it was titled ‘Extinction Beckons’, and I would agree that the environments and atmospheres executed this exactly.

(Mike Nelson: Extinction Beckons (2023))

References

Mike Nelson: Extinction Beckons (2023) [Exhibition]. Hayward Gallery: London. February 22, 2023 – May 7, 2023.

All Images: Keeble, G. (2023). Mike Nelson: Extinction Beckons [Photograph].

My project focuses on utilising spatial design to create a safer running experience for those running outside and alone in Deptford. Considering sensory design is an interesting concept, because of my primary focus for my design. Lupton and Lipps (2018) note that the hue of lighting changes the atmosphere of a space, for example warmer lighting allows a space to feel cosier (Lupon and Lipps, 2018). 

It will be interesting to investigate how different coloured lighting can allow people within a space to feel safer, but also more alert to danger. Alleyways, where my pop-up series is located, at notorious for harbouring criminal activity (Sidebottom et al,. 2018), and therefore considering the lighting design within this space would be beneficial to mitigate these dangers.

References

Lupton, E and Lipps, A (2018). Why Sensory Design? Available at: https://www.cooperhewitt.org/2018/04/03/why-sensory-design/ (Accessed: 5 March 2023).

Sidebottom, A., Tompson, L., Thornton, A., Bullock, K., Tilley, N., Bowers, K. and Johnson, S.D. (2018). Gating alleys to reduce crime: A meta-analysis and realist synthesis, Justice Quarterly, 35(1), pp.55-86.

(Yalcinkaya, 2018)

The significance of this drinking fountain design by Michael Anastassiades upon my design development is the concept’s intention to provide free drinking water, an initiative that is severely lacking in London. Initially installed as a temporary design, it holds characteristics that can translate through to my own design. My concept centres upon creating multiple pop-up structures specifically designed for runners, with an emphasis on women’s safety. This part of my concept however, creating a free accessible drinking fountain, is key to the centre of my design.

(Keane-Cowell, 2021)

This bench seating by Green Furniture Concept is a modular design, which allows the curvature of the seating to align many different shapes. The importance of this design on my own work is the ability for the structure to transform, and how the design can provide a place of rest, whilst maintaining a dynamic look. As my structure is a temporary design, utilising a modular concept will be integral, and will allow me to transform my seating across the many locations my design will feature at.

(Kim, 2016)

Lighting design plays an integral part of my concept for Unit 2. My design’s intention is to address the serious issue of women’s safety whilst running, and therefore having strong lighting that illuminates my structures is key. By highlighting the space around my running hubs, it will hopefully deter any crime, and allow for a safer running community. These lights utilise LED’s, and are disked shapes, this allows for a strong and well lit area around where they are placed.

References

Image 1 & 2 – Yalcinkaya, G. (2018) Michael Anastassiades installs drinking fountain that “lights up your whole face” at the V&A. Available at: https://www.dezeen.com/2018/09/14/michael-anastassiades-installs-bronze-drinking-fountain-outside-va-design/ (Accessed: 24 February 2023).

Image 3 & 4 – Keane-Cowell, S. (2021) Green furniture concept’s modular seating shapes harmonious public spaces. Available at: https://www.designboom.com/design/green-furniture-concept-ascent-modular-seating-public-spaces-architonic-02-12-2021/ (Accessed: 24 February 2023).

Image 5 & 6 – Kim, S. (2016) Our Top Picks From Lightfair International 2016. Available at: https://architizer.com/blog/inspiration/industry/lightfair-international-2016/ (Accessed: 24 February 2023).

Journal Articles:

Akçay, A.Ö. and Alothman, H. (2018) ‘Fashion inspired by architecture: The interrela- tionship between Mashrabiya and Fashion World’, Journal of History Culture and Art Research, 7(2), pp.328-351.

Farahat, B.I. (2014) ‘The interrelationship between fashion and architecture’, Al-Azhar University Engineering Journal, 9(6), pp.1-17.

Kotb, R.M. (2014) ‘ Art Deco architectures as inspiration source in fashion design’. International journal of Science Commerce and Humanities, 2(3), pp.1-17.

Melewar, T.C., Bassett, K. and Simões, C. (2006) ‘The role of communication and visual identity in modern organisations’, Corporate Communications: An International Journal, 11(2), pp.138-147.

Tavşan, F. and Sönmez, E. (2013) ‘Interaction of Fashion and Interior Design Styles in Interior Architecture Education; Workshop Study’, Procedia-Social and Behavioral Sciences, 89, pp.687-691.

Van den Bosch, A.L., De Jong, M.D. and Elving, W.J. (2005) ‘How corporate visual identity supports reputation’, Corporate Communications: An International Journal, 10(2), pp.108-116.

Websites:

Designing Buildings (2022) Building design process. Available at: https://www.design- ingbuildings.co.uk/wiki/Building_design_process (Accessed: 2 December 2022).

Molo Design. (2022) paper softwall / folding wall partition. Available at: https://molode- sign.com/collections/space-partitions/paper-softwall-folding-wall/ (Accessed: 2 December 2022).

Riba. (2020). Riba Small Project Plan of Work. Available at: https://www.architec- ture.com/knowledge-and-resources/resources-landing-page/supporting-docu- ments-for-the-small-projects-handbook (Accessed 2 December 2022).

Skyes, (2000). Chalayan Fall 2000 Ready-to-Wear. Available at: https://www.vogue. com/fashion-shows/fall-2000-ready-to-wear/chalayan#review (Accessed 2 December 2022).

My initial thought to the William Kentridge exhibition at The Royal Academy of Art’s was that it provided little inspiration towards my own work due to the vast differences I initially felt. As I continued throughout the exhibition however, I began to fee truly immersed into the story telling, and I ultimately discovered pieces of Kentridge’s work which I felt like I could relate to.

In a stark contrast to the abstract work, in which he portrays within his early drawings, I was drawn towards the gallery showcasing artworks inspired by flowers. I was drawn in because to their alarming size, realism, and intricate detail. Personally, I am a huge advocate for greenery and flowers within interiors because of the life they bring to the space. Asides from this, I was amazed by the sheer scale of these artworks. Having previously studied fine art, and experimented with ink on paper, I couldn’t comprehend working on such a scale with this medium. 

I particularly liked the layout of space in Gallery 7 and how these large artworks were displayed. Although the room is very large, I didn’t feel small within it, and being able to go up close to these amazing drawings was incredible. This ultimately will help to inform how I would design spaces with large scale objects in the future. 

(William Kentridge, 2022)

References

William Kentridge (2022) William Kentridge [Exhibition]. Royal Academy of Arts, London. September 24, 2022 – December 11, 2022.

Molo Designs create beautiful modular furniture with a heavyweight card which can evolve to the users ever changing needs and desires. This concept to me is particularly strong and is something I want to explore within my own work, using the silhouettes from fashion as my inspiration point. I find the movement which furniture designs provide so interesting, and the unique aesthetic of this works so well alongside origami.

References

Baux (2022) Baux Pulp Panels. Available at: https://www.baux.com/acoustic-products/pulp/panels/?gclid=CjwKCAiAoL6eBhA3EiwAXDom5rD_nHKzbwnC3FDPKRL2Hsv2ngpIAI4OLiKRbiJSZicXSeO6YiLo4xoCuOgQAvD_BwE (Accessed: 19 November 2022).

Image 1 – Morris, A. (2019) Baux launches biodegradable acoustic panels made from plant-based material. Available at: https://www.dezeen.com/2019/02/09/baux-acoustic-pulp-panel-biodegradabale-design/ (Accessed: 19 November 2022).

Image 2 – Naik, M. (2022) Origami Kinetic Table. Available at: https://parametrichouse.com/origami-kinetic-table/ (Accessed: 19 November 2022).

Image 3 – Molo Design. (2022) softseating | folding paper stool + bench + table. Available at: https://molodesign.com/collections/furniture/softseating-folding-paper-stool-bench-paper-furniture/ (Accessed: 19 November 2022).

Image 4 – Connellan, S. (2015) These Origami-Like Shapes are Almost Unrecognisable as Furniture. Available at: https://concreteplayground.com/auckland/design-style/design/these-origami-like-shapes-are-almost-unrecognisable-as-furniture (Accessed: 19 November 2022).

References

Keeble, G. (2022). Sir John Soane Palimpsest [Photograph].