Final year project
Antropofangia [Read more]
The Urban Indigenous
The image displays the new arena and the natural fauna and lifestyle that encompasses the indigenous urban living. Columns that resemble palm trees hold the staggered arena of residential units for large indigenous families.
The apothecary building with bridge to the arena. Using abstracted and 'Brazilianised' elements to create a sense of scale and proportion inside. A seed bank that houses seeds from the rainforest in the back room, with large columns and palm trees creating a sense of the natural environment indoors. The building also houses apothecary shops that sell traditional medicine grown on the site by the indigenous people.
The residential units with a large sculpted 'hand' fireplace at the centre of the home, similar to natural indigenous living, abstracted elements in balustrade and windows frame the large living area with seating, planting with distinguished zones through a difference in levels.
A rug made to display the life of Tarsila do Amaral, a Brazilian painter who travelled to Paris to study alongside cubists, branded as an exotic woman who spend the rest of her time discovering her Brazilian heritage and the beauty of the natural landscape.
The Headless Mule
The story of the headless mule, a folktale from Brazil and the how it degrades the religious opinion of women and sin, versus the male relationship with sin. This is reflected through culture in Rio de Janeiro in which women are at danger of being assaulted and are categorically blamed in court for these matters, famously in the case of Mariana Ferrer who was labelled a 'god fearing woman'.
Through the act of confessional realism women can re-examine their relationship with sin and the church in a safe environment. This church for women will allow them to connect with their religion but have honest discussions about the misogynistic interpretations of the outside world.
Three main elements; security, representation and pilgrimage are vital to achieving confessional realism. the women must feel safe (through light and scale), recognised (through form and artefacts) and also take on a journey to selfactualisation.
In this final year I have focussed on complex critical theories like gender inequality and urban migrations of indigenous peoples in the city of Rio de Janeiro. I find I am most driven by projects that provoke radial changes without being overly complex in their nature. I use art and model-making as a medium to allow my architectural work to tell stories of people and the project. I aim to focus on architectural history and heritage in my masters and would like to work specifically in the conservationism realm of architecture.
Final year project
I have had some focus on sustainability throughout my time at Loughborough, winning the ‘Most Sustainable Design’ award for my Washi Library project in second year.
My first experience was at dRAW Architecture in Wandsworth for 3 months, working as an architectural assistant with duties that involved preparing drawings in AutoCAD, managing all social media and marketing, submitting planning applications, writing design and access statements and producing scheme design drawings without supervision.
My second experience was at David Morley Architects working as an architectural assistant on a large educational project with client Argent and university projects. Duties included drawing plans, sections, elevations and drafting in Microstation, attending client meetings and working through the entirety of Stage 2 for the project, I also worked specifically on design for a primary school an autism unit. I created digital hand drawings and presentations of many projects and was part of the Green Group.