After being awarded runner-up in Zizzi’s Fresh Talent scheme, I was asked to create large temporary window illustrations over the course of a week by hand while diners looked on.
Collaborating with Ashley Roop, an interior designer, and the design studio Eat Sleep Work/Play, we developed environmental graphics for the Spirit Level that incorporated the use of blackboards for inhabitants of the space to communicate with each other. The Spirit Level is the home of the Southbank Centre’s Learning & Participation department. The space is used by performers, artist groups and youth groups associated with the Centre who collaborate with each other quite frequently. The Southbank Centre wanted to encourage open dialogue between these groups. The use of blackboards proved to be be the easiest and most cost effective way to enable this. There was also difficulty in locating rooms. Each room was named a colour but without any indication of that particular colour inside or outside the room. This was solved by creating “colour trails” that start at each entrance sign and lead people to the rooms. See the print section for a look at the accompanying booklet.
Part of this project is still to be realized. Below is a section of a wall that leads out from the Spirit Level to the cloakroom and entrances. This wall is a secondary entrance into the Spirit Level and is where a lot of people first venture inside. A large picture window looks into the Gamelan Room. The idea is to continue the Gamelan graphics on this wall and install a listening station where visitors can hear the sounds of the Gamelan. The installation piece will be activated by proximity. Visitors will cup their ear to the sound areas and hear different Gamelan tunes. Half of this installation will be made of chalkboard so that the Gamelan tunes and information about the Gamelan classes can be updated frequently. This installation will be a collaboration with artist Henry Holland.
Proposed wayfinding system for the Royal Albert Memorial Museum in Exeter. The signage is inspired by collectors boxes commonly found throughout the Victorian-Era museum.
This was a candidate project for the student portion of the London Festival of Architecture. To develop a temporary installation, I collaborated with three spatial designers to create 'Marsh Pier'. Using “reveal” and “escape” as guiding themes, we proposed transforming Stamford Wharf Pier into 'Marsh Pier'. Research revealed that people seek out piers to find a moment of quiet away from the crowds, an escape. Until the 15th century the entire South Bank was a thriving marshland. So the group asked the question, What if we brought the marshland back? And in doing so, gave people a way to escape the everyday and relax? To create this, hundreds of reeds would be installed surrounding the pier. Each reed would have colour marks for tidal levels and holes that would ‘whistle’ in the wind. The pier walkway would feature benches in the shape of marsh mounds where people would be able to sit and relax.
Collaborating with Ashley Roop, an interior designer, and Mansee Dabral, a writer, we created furniture and a visual system for the Spirit Level, the Learning & Participation department’s space in the Royal Festival Hall. The narrative for this project was based on the idea that the Spirit Level is a secondary backstage with artist practice rooms and special artistic development programs. This concept was carried through by using custom designed flight cases as an archive system for L&P’s past projects and a way for them to share these with the public. All memorabilia from previous events would be stored within the cases and left around for people to explore or use as makeshift furniture. Walls in the Spirit Level would also be transformed into writing and drawing spaces with chalkboard paint. This would open up the presently closed-off feeling of the space, encouraging artists to communicate with each other. The Spirit Level would be transformed into a creative, interactive and flexible space. This project eventually fed into the environmental graphics project for RFH.
Logo and sign design for a café in Boston’s Mission Hill neighbourhood. The design reflects the owner’s Somali heritage with African woodcut inspired flowers and butterflies. The front sign over the door has push through acrylic letters that give a “halo” effect at night to the words “butterfly coffee.” The floral window graphics (shown in top right image) are placed strategically in the picture windows to look like they are growing up out of the existing flower boxes.
Proposed sign design for an existing liquor store in the fashionable Beacon Hill neighbourhood of Boston. The Beacon Hill area is known for its historic federalist-style buildings with ornate ironwork. This was incorporated into the design using similar ironwork patterns and interlacing it with images of cocktails, beer mugs, wine glasses and bar tools. The flat sign would be made of laser-cut brushed aluminum and back-lit with light green LED lights to give a halo effect. The letters would be etched into the metal and filled with enamel paint. The blade sign would also be laser-cut brushed aluminum with tempered glass set into the middle of the round frame with LED lights hidden around the inside rim to give off a glow. The letters would be etched into the glass.
Consultation services provided for the signage and architectural canopy details. The cafe was opening in a renovated former brewery (under the jurisdiction of the National Landmarks Commission—NLC). The owner had an existing logo design but wanted to find a creative way to do her signage and provide shelter for outside seating. The resulting sign and canopy reflected the utilitarian image the café wanted to project and stayed within the architectural restrictions of the NLC.
Logo, signage and a series of posters designed for the interior of a Cape Verdean bar/restaurant in Boston’s Dorchester neighbourhood. The restaurant concept is a neighbourhood place that is fun, comfortable, and funky, serving home style Cape Verdean and Creole food along with live music.
A wayfinding system developed with city planners and architects as part of a major redevelopment of the Upham’s Corner neighbourhood in Boston, Massachusetts. A major landmark of the neighbourhood is the Strand Theatre. Built in 1918, the Strand Theatre is Upham’s Corner’s refurbished cultural center. The project addressed concerns the community had of giving their neighbourhood an identity, helping people find their way to the theatre during the day and on show nights, highlighting parking lots, locating the train station and directing traffic flow through a busy intersection. The project required research into the history of the community, building materials, sign fabrication, the Manual on Uniform Traffic Control Devices, traffic flow and regular meetings with residents in the community. The sign forms reflect the aesthetic of the historic Strand Theatre as do the colours and font which reference the theatre’s art deco roots. The design combines stencil cut metal graphics, raised metal symbols and lettering as well as baked enamel letters and colours on steel panels. Keeping functionality as an equally important aspect, the signs are designed in pieces so symbols and text can be updated or replaced as needed.