Bronze Medal Scheme: University of the Arts London in London Inside Out - Research Proposal Example

BRONZE MEDAL SCHEME: OF THE ARTS LONDON IN LONDON INSIDE OUTBY BRENICE MARTIN Institute Bronze Medal Scheme: of the Arts London in London Inside Out by Brenice Martin University of the Arts London (UAL) earlier known as the London Institute is a community research college situated in London, UK that is dedicated in tutoring and the development of media, design, fashion, and art. It is an academic university consisting of six principal colleges namely Wimbledon College of Art, Central Saint Martins, Camberwell College of Arts, London College of Communication, Fashion College in London, and Chelsea College of Art and Design. This setting makes the institution Europes largest source of schooling in art, design, fashion, media and the performing arts. The university brings together about 19,000 scholars from over 100 dissimilar republics, comprising approximately of 2,250 overseas students who are pursuing further education, 15,000 undergraduates and 2,800 postgraduate as well as research scholars. It is similarly a leading benefactor of short courses on artistic subjects, with about 20,000 people aged between 10 to 82 years taking a course through the academic year. The vast excellence of the university in its field makes it a member of RIBA and presents its students essays on architecture designs every year. This paper highlights and further comprehends the RIBA award in view of its ideology of proper creation and designs in British architecture. Background The University of the Arts London Institute was started as a higher education organization in 1991 and was consequently given academic degree awarding authorities in 1993. The London Institute accepted Privy Council authorization for university grade in 2003 and was later called University of the Arts London the following year (Ashton, & Noonan, 2013, p. 90). The academia has its roots in seven formerly autonomous media, design, fashion and art institutions, which were merged together for administrative drives to create the London Institute in 1986 (Ashton, & Noonan, 2013, p. 94). These institutions include the London Printing Colleg, the Central School of Art and Design, Saint Martins School of Art, the London College of Fashion, Camberwell School of Arts and Crafts, the College for Distributive Trades, and Chelsea School of Art. The colleges were initially created from the late 19th century to the 20th century (Ashton, & Noonan, 2013, p.96). These variations have been attributed to making the university the best in the country. Scholars interviewed suggested that with these variations in skills, it is easy to be innovative in their field since information from their courses is easy to fetch and easy to comprehend through inter campus lectures. All the different institutes have a great tradition in their respective fields since they were all instated before modern architecture, but have gone through a similar transformation. The Collages Camberwell College of Arts The Technical Education Board of the London County Council established Camberwell School of Arts and Craft in 1898, in a structure alongside the South London Art Galleria (Camberwell College of Arts, 2001, p.7). The courses trained at this institute are mainly technical. However, the school also has a Fine Arts department that was established in 1948. The college became a section of the London Institute in early1986, and in 1989, it was called the Camberwell College of Arts. Central Saint Martins Central Saint Martins College was initiated in 1989 by the union of Saint Martins School of Art, and the Central School of Art and Design. In 1896, it was recognized as the Central School of Arts and Crafts (Backemeyer, 1996, p. 45). Despite the union, the institution is currently renowned in interior design because of its roots with art and craft from early days. In 2011, the college was re-titled Central Saint Martins College of Arts and Design (Backemeyer, 1996, p. 47). Chelsea College of Art and Design The Chelsea School of Art was created as a division of the South-Western Polytechnic, that was established in 1895. Later, it changed its name to the Chelsea Polytechnic (London Institute Gallery & Chelsea College of Art and Design, 2001, p. 32). The collage is famous due to its technical training attributes. Chelsea School of Art became part of the London Institute in 1986 and was renamed Chelsea College of Art and Design in 1989. London College of Communication In 1894, The London College of Printing merged as part of St Brides Foundation Institute Printing School, which was established as stipulated by the City of London Parochial Charities Act of 1883(London College of Communication, 2005, p. 9). It merged with the London Institute in 1986 and later in 1990, it combined with the London College of Printing to form the London College of Printing and Distributive Trades, which in 1996 was renamed the London College of Communication. London College of Fashion The London College of Fashion originates from the merging of three trade schools for women namely, the Shoreditch Technical Institute Girls Trade School, Barrett Street Trade School, and Clapham Trade School (Oneill, 2007, p. 15). The institution became division of the London Institute in January 1986 that is world renowned for fabric and fashion designs in interiors (Oneill, 2007, p. 20). Wimbledon College of Art The establishment of Wimbledon College of Art dates back to 1890s, when an art course for the Rutlish School was established. In 2006, Wimbledon School of Art became an architecture division of University of the Arts London and later it was re-titled Wimbledon College of Art. RIBA British architecture has a long line of heritage and culture that has identified it with the unique UK landscape. Since 1834 The Royal Institute of British Architects, also known as RIBA has been synonymous with British architecture since it was the first institute to actively take part in British construction and design culture (Royal Institute of British Architects, 1992, p.12). Over time, the institute has grown and is currently a specialized body for architects majorly based in the UK but also globally, that is in pursuit of understanding architecture and modern designs. This venture has brought about the presentation of one of the world’s most coveted awards through a system known as the Bronze medal scheme. The award is presented publicly to individuals or an organization that recognizes the significance of better buildings, societies and the environment in architecture. The Award The RIBA President’s Medals are recognized as the most admired and established honours in architectural tutoring in the world. First presented in 1836 as the Silver Medal for an architectural dissertation and later awarded from 1855 to highlight on Measured Drawings created by a talented graduate, is the RIBA’s oldest award coming before the Royal Gold Medal, which was created in 1848. The present format of the honours dates back to 1984, at what time the Institute made a new Bronze Medal category to give recognition to design work produced during Part 1 of a student’s degree program while the Silver Medal was given for work created at Part 2 of their studies. In 2001, a Dissertation Medal was further added to substitute the Dissertation Certificate. Ever since its initial days, the purpose of the honours has been to endorse excellence in the training and practice of architecture, to promote talent and to inspire architectural debate globally. Every year the RIBA offers about 300 universities and colleges of architecture from over 60 countries to suggest design projects and essays produced by their students on improving current architecture schemes. Winners are usually got from a panel of expert who integrate student ideas with practicality and after they are publicized every December at the yearly President’s Medals rite at the RIBA head office in London, where the RIBA current President offers the Dissertation, Silver and Bronze Medals to the champions (Royal Institute of British Architects, 1992, p.45-65). Inside Out Inside out is a part 1 presentation from the London Arts University in UK by Brenice Martin. The essay is set to elaborate on the artistic interpretation where ‘the practice of everyday life provides a fascinating view of human behaviour in social interactions’ suggests Martin. His assertions are regarded as true ideologically since every day of one’s life is spent enclosed by mysteries that comprise what, is superficial, seem to be rather normal human behaviours (Arnheim, 1977, p.45). Since the origin of chronicled history, and perhaps even before, individuals have been absorbed in answering queries about why humans act the way they do. In fact, numerous fields of human effort such as philosophy, theology, and even psychology are concentrated on finding clarifications for the nature of social behaviour (Taiwo, 2010, p.47). However, it is only in modern decades, with the development of advanced scientific approaches and tools, that academics can in conclusion approach, comprehend, and resolve the mysteries of sensation, belief, and behaviour in the identical way that oceanographers explore the ocean or astronomers study the stars in the outer universe (Taiwo, 2010, p.48). Figure 1: Inside Out According to Martin, ‘Everyday life practice is a crucial element in the process of design. Taking the metaphor of theatrical performance to describe the way in which we present ourselves to others, it gives insight about social situations and does so with humour - a playful approach to evaluate in the clear light, the human condition under which we all evolve. These characteristics and the site conditions inform the design process. This project is a contemporary theatre for performance. Situated on a 12,000 square meter site; located on a slope alongside the northwest corner of the Bemerton Estate in north London. The building creates a powerful, high visible focus for the ongoing physical and social regeneration of Kings Cross and the surrounding area. It will provide the opportunity to transform the space; an uninviting area, an active core, both for residents and visitors. As a manifestation of the idea of performance, the project investigates different degrees of actions/performance related to human behaviour. Figure 2: interpretation of visual effects to architecture From the above image, it is possible to see how martin infuses visual art of what is around an individual to inspire certain behaviour. From the actual images, Martin draws a sketch that seeks to express an expression that is not derived from the actual building. In his words, he proposes that ‘the buildings attempt to play with the very idea of drama and performance’ As he portrays this image, the essay attempts to suggest the converse when creating a building. It is essay to comprehend the idea through design in the way that the lines in sketches and building plans determine the various expressions derived from an architect’s work. Martin suggests the scheme proposes volumes that are arranged over three main, stepped levels of intensities: the Entrance, Exhibition Hall, which is exposed, the Foyer representing the enclosed part of the structure and the main auditorium that is in-between. Figure 3: a sketch representation of all the aspects of the building. The Entrance This part of the building is explained by Martin as an area that gives insight about social situations and does so with humour - a playful approach to evaluate in the clear light’. The scholars view is practical since this is the first part of the building that interacts with its inhabitants and gives a unique theatrical experience. Through this phenomenon on can draw a sensation from the building from the start and allow them to experience theatrical sensory world as intended by martin. Figure 4: the entrance as expressed by Martin The Foyer This part of the building is enclosed to the public. Nonetheless, this section should still hold the here is a dialectic of revealing and concealing exhibitionism and spectatorship, in and around the building, that constantly drives the viewer in and out. The design of this should have a visual effect that is just as moving as the entrance since observers eyes are already set to continue with the buildings theatre effect. This can be done through arranging the inside of the building to look specious as the outside reviling as much as possible of the building Figure 5: the foyer sketch With numerous movement as suggested from the inspiration from the northwest corner of the Bemerton Estate in north London, the foyer will give an active vibrant feel. Figure 7: the plan of the foyer Figure 8: the architectural plan of the ground floor The Main Auditorium The main auditorium should give an all-round look of the building from different angles. This are can be considered as the gallery that present different parts of the structure meaning inside and out. Figure 9: visual effect of the auditorium Further understanding of the project by Martin also suggests not just the building aesthetics however, its location may be vital to its visual inspiration. Movement of the sun reflecting of the building is just as vital as the interior. Through the project, it can be seen that the building uses the sun as a reflector and a theatre backdrop is formed. Figure 10: The Visual Effect Sketch of the Sun In conclusion, the University of the Arts London (UAL) is a community research university situated in London, UK that is dedicated in tutoring and development of media, design, fashion, and art. It is an academic university consisting of six principal colleges namely Wimbledon College of Art, Camberwell College of Arts, Central Saint Martins, London College of Communication, as well as London College of Fashion and Chelsea College of Art and Design. These establishments provide student at the university with a broad spectrum of knowledge to be the best architects in the world. This s evident through the participation in the RIBA awards that are only open to the best in the field. Inside out created by Brenice Martin is a fine example of how the institute fashions designs. The project elaborates on the practice of everyday life provides a fascinating view of human behaviour in social interactions through a proposed designed building. Reference list Arnheim, R. (1977). The dynamics of architectural form: based on the 1975 Mary Duke Biddle lectures at the Cooper union. Berkeley, Univ. of California P. Ashton, D., & Noonan, C. (2013). Cultural work and higher education. Backemeyer, S. (1996). Object lessons: Central Saint Martins Art and Design Archive : a centenary publication. London, Lund Humphries in association with the Lethaby Press, Central Saint Martins College of Art and Design, London. Bingham, D. (2009). CIS higher education directory 2010. Woodbridge, John Catt Educational. Camberwell College of Arts (London). (2001). Camberwell College of Arts: BA Visual Arts - painting : degree show 2001. London, Camberwell College of Arts. London College of Communication (London). (2005). Book arts: BA (Hons) Book Arts & Crafts 2005. London, London College of Communication. London Institute Gallery at Millbank (London), &Chelsea College of Art and Design (London). (2001). Showcase: Chelsea College of Art & Design : art and design works by staff, fellows, artists in residence and PhD students at the former Royal Army Medical College, Millbank, London SW1P 4RJ. London, Chelsea College of Art and Design. Oneill, A. (2007). London: after a fashion. London, Reaktion books. Royal Institute of British Architects. (1992). A Decade of RIBA student competitions. London: Academy Editions Taiwo, O. A. (2010). Handbook of research on discourse behavior and digital communication: language structures and social interaction. Hershey, PA, Information Science Reference. Read More