OUGD603 - Module Evaluation

Module Evaluation

This module provided many opportunities for my design knowledge and technical skills to be tested and improved. The open nature of the module has allowed me to work on a larger variety of projects than usual, which has resulted in a diverse portfolio and expanded knowledge in many areas. Projects this ranged from branding and typeface design to editorial and publication production. Working with a range of clients, some small and some large, presented new challenges and a different way of approaching projects. Presentation and pitching skills were necessary to succeed within these briefs, and managing a professional project has ensured that time keeping and communication skills were refined to maximise efficiency. Venturing into freelance work has been the first step in launching a career as a freelance designer post-graduation, and has equipped me with many important skills, including vital knowledge on charging, invoicing, and managing a small business. Working collaboratively with peers this year has allowed me to form stronger partnerships with other designers, which can be utilised in the future. Having the freedom to conceive personal projects within this module allowed me to define my own boundaries to the work, resulting in greater experimentation in concept generation, design, and production methods. Although this could be considered self-indulgent, it has proved to be a rewarding way of working and challenged me to test my own abilities and trust my own instincts.

OUGD603 - Brief 11 - Markham Moor Evaluation

Evaluation

The Markham Moor project explored the Scorer hyperbolic structure from an aesthetic viewpoint, examining its form and structure through type and colour. The publication allowed a narrative to be realised, revealing the history of the hypar and inviting a new audience to engage with and learn about the building. This was continued through a triptych of posters, highlighting key aspects of the building's architectural significance and encourage an audience to consider the context of these words today. Extending the project through different applications incorporated new and different materials, such as flag fabric, adding a new facet to the project and allowed the design work to be realised in a new dimension. Creating design in a very personal context such as this allowed more conceptual ideas to be explored. This opened up many option within the project, including the exploration of new type treatments and production materials. The project also acted as a form of cathartic release in regards to the subject matter.

OUGD603 - Brief 11 - Markham Moor Flags

Flags

As an extension of the poster triptych, a series of flags will also be created. The material of flags is interesting in the context of the project, as it both parallels the fluidity of the hyperbolic shape and contrasts with the physical nature of the concrete. Below are a series of mock-ups for the potential flag series:

The physical creation of the flags was not possible during the time for this project due to circumstances outside of my personal control that affected access to such printing facilities, and was not a consequence of poor time management.

OUGD603 - Brief 11 - Markham Moor Book

Book

In addition to the poster series, a small zine was created to allow the form of the building to visually explored further. The zine incorporated the triptych of poster designs, and created a short narrative from the engineering of the physical structure, to its gradual decline into a derelict building.

A zine format is the most accessible format for visual material to be shared with a wider audience, and would allow for an increased engagement with the project. During the research phase, a news article about the hyperbolic roof labeled the structure as a 'Winged Wonder', and this title seemed appropriate for the zine.

Feedback during the design development for the poster series revealed that editing found imagery of the building to create a grey-on-black effect created a successful visual representation of the decline of the building, and so images edited using this technique were included in the zine. The black and white colour scheme was continued to allow for continuity between all material.

High quality production of the book was not possible during the time for this project due to circumstances outside of my personal control that affected access to such printing facilities, and was not a consequence of poor time management.

OUGD603 - Brief 11 - Markham Moor Posters

Posters

Drawing on the research gathered on the hyperbolic roof, concepts were generated for a series of printed posters that would reflect the structure and form of the building. The structure is now grade II listed, and three of the categories used to judge a building on its grade status are Architectural Distinction, Architectural Rarity, and Intactness. These three words are particularly poignant in regards to the current state of the building - as a structure it has become know for its distinct shape, and it is one of the last remaining examples of hyperbolic architecture in the UK. Now standing empty, there is an uncertainty to its future and a questionable longevity to its iconic form. These words formed the basis of the design experimentation for the poster series.


Typeface

To create a unique visual style for the project, a typeface was chosen to be used across all design material. The typeface Agentur, by Good Type Foundry was selected due to its unique letterforms. In particular the structure of the curved letters creates the appearance of a 3D stroke weight changing direction. This fits appropriately with the research undertaken on the physical shape of the hyperbolic roof, and will create a direct connection between the design work and the original form of the structure.

Colour

The most appropriate colour scheme for this project is black and white, as it reflects the current derelict state of the building, its fading history and its uncertain future. It also represents personal feelings of grief and creates. The colour red could also be used as a representation of the building's brief occupation by a Little Chef restaurant.


Primary Designs

Experimentation for the poster designs was undertaken using the selected typeface, a range of found imagery, and selected words and phrases gathered in the initial research phase.

Feedback on this initial experimentation concluded that the typeface was very appropriate to the context of the project. Peers commented that they preferred the edited black and white photos rather than the coloured versions, as it felt more representative of the themes of the project. While positive feedback was given to the warped text that mirrored the curves of the building, but some felt it was too obvious and didn't create any additional context.

Secondary Designs

Moving forward with this feedback, more attention was given to the type treatment. An aesthetic was developed using a gradient drop shadow that created a ghost like 3D appearance. 

Feedback during a peer critique for these secondary designs was more positive, with many stating that the gradient drop shadow effect was very visually appealing, and created a unique style for the project. It was noted that the most successful design incorporated the more abstract imagery of the hyperbolic rood form, rather than the whole building. It was suggested that this style be expanded to incorporate the three key words from the research findings to create a triptych of poster designs. Although the colour red was appreciated within the context of the project, most found that the simplicity of the black and white created more visual impact.

Poster Triptych

OUGD603 - Brief 11 - Markham Moor Concept Generation

Concept Generation


There are numerous possible outcomes for this project, but drawing on my own design preferences and specialisms the most obvious outcome would be a publication, and a poster series. Both would document a visual exploration of the structure, its historical and architectural context, and the significance of the building from a personal viewpoint. They would allow this information to be shared with a new audience, creating further awareness of a piece of history that could otherwise easily be lost. Printed material could be extended beyond paper, exploring a range of other materials appropriate to the project, including concrete, wood, or material.

OUGD603 - Brief 11 - Markham Moor Research

To inform both the projects concepts and the design decisions, research was undertaken into the history of the building and the architect who conceived it:

History

The Markham Moor hyperbolic roof was conceived by architect Sam Scorer, and constructed with the help of structural engineer Dr Hajnal-Kónyi.

Hugh Segar "Sam" Scorer FRSA (2 March 1923 – 6 March 2003) was an architect who worked in Lincoln and was a leading pioneer in the development of hyperbolic paraboloid roof structures using concrete. He also was involved in architectural conservation and research into the work of local 19th-century architects, as well as creating an art gallery in Lincoln, now known as the Sam Scorer Gallery.

Thin shell concrete roofs were invented in Germany around the 1920s, as a means of achieving large spans with limited materials and at low cost. The strength of the roof lies in its shape, and the way it carries the loads by the forces exerted in the planes of the shell, rather than by the weight of their materials. The first shell roofs were simple barrel vaults. The earliest is Wythenshawe Bus Garage, Manchester, built 1939-42. After the Second World War, the form was taken further. One of the first engineers to specialise in concrete shell techniques in Britain was the German refugee of Hungarian origin, Dr K. Hajnal-Kónyi, who arrived in London in 1936, and who worked with Sam Scorer. Scorer became fascinated by the possibilities of shell roofs as a student, and designed a hyperbolic paraboloid roof in 1956 for a water tower in Ilkeston, Derbyshire.

The form was particularly appropriate for developing countries because of its simple materials and low cost. The rationing of steel in the post-war period in Britain also was reason for the popularity of these designs. The 'hyper', as it is sometimes known, enjoyed a brief fashion, seen in buildings such as the Commonwealth Institute of 1960-2 and also the Wrexham swimming baths of 1964. Examples of Scorer's Work are the Lincoln Motor Car Company Garage and Showrooms (1959) and the St John the Baptist Church in Ermine, Lincoln (1962).
Wikipedia: Sam Scorer


Timber hyperbolic roof structures were popular in Britain between the 1950’s-1970’s, and 140 buildings are now known to have been covered with timber hp shell roofs

By 1952 there were some 500 concrete shell roofs in Britain

Markham Moor Petrol Station was constructed in 1961 and cost a total of £4,500 to construct

The concrete roof was cast in-situ with the use of a timber pro-former (mould)

The structure was threatened with demolition in 2004, and was then converted to a Little Chef which saw the addition of the restaurant building underneath the original roof. The Little Chef restaurant closed in 2012 and the building (both roof and restaurant) have remained unused ever since
English Heritage awarded the Markham Moor structure Grade II listed status in 2012


The canopy to the former petrol filling station, constructed in 1960-61 to designs by architect Hugh Segar (Sam) Scorer and structural engineer Dr Hajnal-Kónyi, is listed at Grade II for the following principal reasons: * Technical innovation: it is a particularly direct example of a hyperbolic paraboloid roof, an unusual and dramatic roof solution which was then being experimented with by a number of architects and engineers all over the world. * Architectural interest: it is a dramatic piece of concrete design which displays the hyperbolic paraboloid form in a daring manner. * Architectural authorship: the team of Scorer and Hajnal-Kónyi was advanced in the design of hyperbolic paraboloids. Scorer is chiefly remembered today for his three buildings that are substantially roofed in hyperbolic paraboloid shells, two of which are listed, one at Grade II*. * Architectural distinction: during a period when standardisation of petrol stations was introduced as an aid to product recognition, the example at Markham Moor is unique by virtue of its technical innovation and individual design. * Rarity: it is one of few extant hyperbolic paraboloid shell structures from the 1950s and 1960s. * Intactness: The canopy and four structural supports remain intact and un-compromised by the inserted building beneath.
Canopy to Former Petrol Station, Markham Moor - Historic England



Construction

The Hyperbolic Paraboloid Roof is a continuously loaded, double curved, self-supporting structure

The hyperbolic paraboloid is a three dimensional surface that belongs to the family of surfaces known as conicoids. Better known examples are the sphere, an ellipsoid (a rugby ball), a hyperboloid of revolution (a cooling tower), and the cone.

The shell may be considered as a system of intersecting ‘arches’ and ‘suspension cables’ - thus the surface is in direct compression in directions parallel to the ‘arches’ and in direct tension to directions parallel to the ‘cables’.
Construction History Vol.13 1997: The design and construction of timber hyperbolic paraboloid shell roofs in Britain: 1957-1975

A major advantage of the HP is the design simplicity which it offers

Although the HP is curved in two directions, it is composed entirely of straight lines

Thanks to the straight line characteristic, forms for the HP can be built from straight lumber

All thin shell roofs derive their strength though shape rather than mass
Hyperbolic Paraboloid - New Thing Shell Roof Type That Promises Great Things

The canopy is a hyperbolic paraboloid shell structure. It has sharp fins that point skywards while the sides sweep low towards the ground. Its form can be likened to a handkerchief, with two corners rising to apexes of 37 feet 4 inches above the ground, while the two opposite corners are only 5 feet above ground. At the dip in the centre, the height is 18 ft 6 in. The canopy is supported on its lower edges by four, simple concrete stanchions.
Canopy to Former Petrol Station, Markham Moor - Historic England

A 3D rendering of the hyperbolic paraboloid

Legacy

These petrol station canopies are splendid reminders of an era, not so long ago, when motoring was first becoming available to all, and a family car journey was very often an adventure in itself. These designs were futuristic at the time and they continue to delight - they have clearly stood the test of time.
Simons Group

Findings

This research produced many contextual details which will help inform the direction of the project. The history of both the building and the architect will contextually ground the project, and the information gathered about the engineering and physical construction of the hyperbolic roof can be directly applied to the design of any visual material.

OUGD603 - Brief 11 - Markham Moor Brief

Brief

Visually explore the Markham Moor hyperbolic roof structure

The Markham Moor hyperbolic (hypar) roof is one of the first, and only remaining, examples of concrete-cast hyperbolic architecture in the UK. The structuring was pioneering at the time of its construction, both in terms of the mathematics of its engineering and the advantages it offered over traditional roofing strategies.

The exploration of this structure is inspired by my grandad, Eric W. Raynes, who worked as a member of the construction team when the roof was built. The roof became a prominent part of my own childhood, and also became a focal point of the journey’s that my family took to visit him. His passing in September 2017 marked the loss of one of the last remaining links to the building, and with it a unique perspective on a unique part of architectural history.

Using colour, form and aesthetic, create a series a outcomes that explore the personal significance of the structure, and how the importance of the building can be passed to the next generation.

Background Considerations

Consider the history of the building and its significance within a wider architectural context

Consider the engineering involved in building the structure, and physical material of the building - how could this inform the aesthetics of the project and the production of the outcomes?

Consider how type and colour can be used to create a unique visual aesthetic for the project

Consider possible applications for visual outcomes - could they form a series of posters, or spreads for a publication?

Consider the personal significance of the structure, and how pre-conceived knowledge and ideas can be used to inform the design decisions and aesthetics of the outcomes

Use design as a way to explore grief and loss, and consider how this might inform the direction of the research and the aesthetic of the design outcomes.

OUGD603 - Brief 03 - Lonely Boy Logo

Brief

Create a logo for the zine distribution company Lonely Boy. The logo must embody the ethos of zines and the DIY community while also appealing to a young, digital and a socially aware generation. The logo will be used primarily across the Lonely Boy website and social media outlets, but a range of physical merchandise can also be considered (t-shirts, tote bags, posters etc).

Background

Lonely boy is an online zine distro founded in 2017 by Georgia Gibson and Izzy Kroese, and they approached me to create a logo for the company. As the company currently exists only digitally, strong and memorable branding is key to helping solidify the presence of their online shop and build an audience across their social media platforms.

Audience

The brief indicated that the branding should appeal to a young, digital audience. The name itself is a reference to a character in the popular American TV series Gossip Girl. It is also a reference to emo culture, and a device used to connect with the distro's primary target audience - 18-28 year olds who are either part of, or aware of, both zine and emo counter-cultures. 

Primary Designs

It was specified that the logo should ideally be a wordmark, rather than a symbol. Keeping in mind the intended audience, a selection of initial type-based designs were created using a variety of basic but unique typefaces:

A retro typeface reminiscent of the early type used on the first computers that creates an instant connection with the many different online platforms that exist under the brand's name.

A modern, open and highly legible sans-serif typeface that would easily translate across digital platforms

A gothic script typeface that reflects both the emo subculture and recent trends in typography within design

A brush-effect script that reflects the DIY nature of zine culture

A weighty, all-caps sans-serif typeface that would create the desired strength within the brand 

Feedback

Working closely with the client allowed these initial designs to be quickly refined, and it was felt that the gothic script typeface was the most relevant to the brand and its target audience, and created the unique identity that was needed for the company. Feedback from peers was also positive towards this design, but it was suggested that the decorative elements of the gothic typeface could cause legibility issues across digital platforms, and the typeface would therefore need to be reworked.

Secondary Designs

This logotype was then refined through a selection of secondary iterations:

The decorative stems were removed and a stroke was added to add extra weight to the narrowest parts of the letterforms, which allows for increased legibility at smaller scales.

Two warped versions of the logotype - further discussion with the client revealed that the logo would also be used across physically printed merchandise (t-shirts, tote bags, etc). Furthering this idea and replicating the movement of fabric, the warped letters create a sense of dynamic - even on flat surfaces the logo appears responsive to its environment.

Feedback

Feedback towards the warped logos was extremely positive from both peers and the client. It was agreed that the type treatment was appealing and highly appropriate for the target audience, and created a unique and recognisable brand for the distro. Out of the two versions, the second was preferred due to its cleaner appearance. It was noted that legibility had been increased through the alteration of the typeface, but had not been compromised by the warped letters, and therefore the logo would function well at all scales across digital and printed material.

In addition to this it was requested that the full name of the distro be added.


Final Logo

The finalised version of the logotype, including the full name of the brand:

Tote Bags

As a designer with knowledge and access to screenprinting facilities, I was also asked to create a short run of printed tote bags for the company. A variety of options for tote bags designs were created in mock-up, and it was decided that the full bleed edge-to-edge design created the most impact and showcased the new logo well.

The tote bags were printed in the Blenheim Walk fabric screenprinting room in a run of 50:

Evaluation

The branding produced within this brief is highly successful. The logo is distinctive and modern. Although many of the design decisions play on current design tropes, the aesthetics of these are highly suitable to the context of the brand and its target audience. Working closely with the client allowed design decision to be made quickly, and therefore productivity over the course of the project was consistently high. Expanded from digital platforms into physical merchandise allowed for a greater consideration as to the wider applications of the brand. Further consideration was given to the logistics of mass production, and skills for fabric screenprinting were greatly improved.