3. INTRODUCTION
Hackney Wick is an area in development. An
important industrial area of London in the 18th and
19th centuries. The massive industry development
contributed to Hackney’s decline in 1879. It was
seen as “a district of 6,000 people who had sunk
to the lowest depths, and it became notorious for
its jerry-built housing”.
After years of stagnation Hackney Wick has now
been chosen to be the newest big development
in the city of London looking to be the home of
Olympic Games of 2012.
The regeneration of the area brought artists and
designers to the Hackney Wick were studios are
being set up bringing a new cultural and creative
interest to the area.
We visited the site on the 9th October 2014 to
survey the area where our next interior architecture
project will take place.
The first half of the project will help us understand
the site and will inform the design in the second
half.
4. INTRODUCTION
Stoke-On-Trent
London
Hackney Wick
LOCATION
The project is located in Hackney Wick.
The brief challanged me to create a suitable project for the
community, having in the existing boundaries both physical and
psychological in the current situation.
CLAY
A universal component used in preparing ceramics owing
to its extraordinary facility of transformation through
moulding and hardening processes.
Different classifications are given to the manufacture of
ceramic depending on its coverings colour. Red-body clays
are characterised by their high iron content, low melting
temperature, and moderate plasticity, whilst white-body
clays are more plastic and have no colouring oxides.
GEOLOGICAL SETTING
“The area is mainly underlain by silty clay of the
London Clay Formation of Eocene age.”
In www.bgs.ac.uk
The geological conditions of the site are favourable to the making of
clay, as the banks and the underlain terrain is composed of silty clay that
can be dug and used to produce clay in order to make ceramic pieces.
5. INSPIRATION
Justin Plunkett’s
illustration was the
starting point for my
conceptualproposal
and model.
The combination
and overlapping
of different
components and
materials that give
this immaginary
building its
character, relfect
the individuality of
the many people
involved in its
contructionas well
as the power of
community.
The yard house was
a great reference in
the sense that had
both functionality and
materiality within the
same building from
where I could base
myself.
The ceramic furniture
connectors made
by Ornella Stocco
representend the spatial
qualities I wanted to
bring into the space.
CERAMIC PIECES
Initial research on different purposes
of ceramic pieces produced
Decorative
FunctionalArchitectural
6. The initial models were a very
important step towards unlocking
my project’s brief and purpose.
From these conceptual models I
decided to make my own tiles with
different textures and glazes.
INSPIRATION
7. THE PROCESS OF MAKING
Tools for processing clay
The process of casting
Casting is one of the processes
of creating ceramic pieces.
It is one of the most common
and is the one used in the very
first lesson when enrolling in
our center.
8. WELCOME TO RE MAKING Hackney Wick
Be a part of it!
Dig the clay
Sieve it
Stir it well
Achieve great texture
Choose your pattern
Trim the edges
Bisque fire
Choose your glazing
Make the mixture
Sieve it well
Apply the glaze
Glaze fire
Hang your tile!
THE PROCESS OF MAKING
9. CONCEPTUAL DEVELOPMENT
These furniture connectors
represent all the connections
existing within the project.
The reconnection of the people
with the land and the river, the
connection of Hackney Wick
community, the connection
between past, present and future.
CENTRAL KILN
