Moving forward with a fully-resolved concept, I have been creating visuals in order to explain my concept and going into further detail as to what happens within each intervention.
I have built upon the initial sketches and visuals that I have been working on throughout the last few weeks, refining and resolving areas to create visuals that are detailed and work well to explain my concept. I have worked hard to make these visuals as graphic as possible, making them bold and bringing through the imagery that I have covered throughout my FMP.
Below are just a few of the visuals that I have created:
Welcoming participants/pedestrians and the primary aim user of parliamentary members are the well-known holiday camp “bluecoats”, satirising the way refugees are dealt with by welcoming participants with a more sarcastic approach. Features such as welcome mats enhance the satirical theme of this intervention – where it’s primary aim is to welcome participants to the set of interventions ahead, or “Europe’s Holiday Camp”, where they are forced to see images and current events from refugee camps themselves. The set of 4 interventions are arranged following the linear direction of the street, encouraging a natural and logical flow from one intervention to the other.
As well as creating visuals for the daytime, I also thought it was necessary to show how the interventions could appear at night. Through doing this, I am able to show how different forms of lighting can be implemented in order to achieve this, as well as how elements such as colour and materials would stand out in the dark.
I feel that the lighting, working in conjunction with the materials of the structure, such as the scaffolding and various materials & textiles, creates for a really effective presence, especially within a street lit from above by street lights, the interventions interrupt the somewhat darkened route. They act as a set of temporary beacons, glowing from within, enticing passers-by to interact with the interventions and explore what their presence is and what they mean.
The second intervention is designed to emulate elements from a luxury yacht whilst contrasting this with the horrific conditions of the overcrowded and uncomfortable conditions of the rubber dinghies used by refugees to cross the Mediterranean. This intervention is essentially a dead-end. Participants are invited in, making their way through a number of border fences, where they will walk towards the back of the installation to collect an identity card. This card will enable them to access the next two interventions, simulating a refugee status. The dead-end design purpose is to draw people into the same space, where the ceiling gradually gets lower and therefore creates a bottle-neck where people are forced into an uncomfortable, small space, replicating the way refugees are smuggled onto overcrowded boats, forcing the participants to turn around and exit from the entrance – enhancing the feeling of confusion. As well as the main intervention structure, I also created a separate scaffolding tower, as seen in the background, which takes more height above the street level, where statements hang and textiles that contrast to the steel scaffolding.
Intervention 4: Night View
Intervention 4 is based around the well-known symbol of beach huts, known for their presence at British seaside resorts and their link to British holiday camps. Reflection is the main aim of this intervention. Reflective material hangs from the structure’s ceiling, as well as mirrors on the surrounding interior hard surfaces, encouraging participants to reflect on the experience through each intervention through to this final one.
As we enter the final few weeks, my aims are to refine these visuals further, whilst building on the graphic elements and creating visuals that play on the themes of borders that I have explored as well as maintaining these more realistic, explanatory images.