-
This project was led by Dean while working at Red Deer. Our client, Edyn, came to us having identified a shift in their target demographic’s perception. Together we interpreted a move from dystopian industrial interiors, towards softer optimistic environments reminiscent of the US west coast. The guest rooms came with tight commercial requirements in a spatially dense neighbourhood, in response we integrated joinery and disguised various elements to balance spaces with a feeling of openness. Materials and details were designed to be robust and sustainable while maintaining tactile contextual finishes. We aimed to embed the public spaces into Dalston by using the vernacular and social vibrancy of the local Ridley Road Market as an impetus.
Kingsland Locke
-
Located within a listed building in Wanstead, London Borough of Redbridge. This room is designed to enable fluent work with access to integrated storage and multiple lighting modes. It subtly references traditional Indian crafts combined with contemporary materials.
Cocoon Room
-
A renovation and extension of an Edwardian house, used as a family home in Wimbledon. To express the client’s penchant of brick and continue the language of the existing building, a modest design was conceived with attention given to reveal details.
Little Reveal
-
This project was led by Dean while working at Red Deer. Our client, DreamCorp, approached us with their own empirical research, revealing that VR inhabitants felt self-conscious. This negatively broke down their sense of in-game presence. As a remedy, we developed a brief for a more immersive experience by increasing privacy and introducing sensory interfaces. The concept is a threshold [portal] between the physical world and the virtual, which aims to disrupt the visitor’s sense of the everyday before they depart into VR via individual sensory immersion cylinders.
This experience exaggerates the inherent dichotomy of VR being digitally connected yet physically isolated. For those craving analogue interaction a narrow ribbon of communal tables offers a liminal experience. By stripping the site of its colour the Overground viaduct is conceived as a textural 3D canvas [hardware] onto which digitally mapped light [software] from the virtual world is projected as the main element. This allows the atmosphere to be controlled through pace, colour and brightness. By using fading colours to breakdown corners, angles and forms then direct lighting to punctuate them, the experience of the space is elusive, malleable and fluid, just like the virtual world the user is about to experience.
Otherworld
Commercial photography by Edmund Dabney and Mariell Lind Hansen.