Challenge of Materials

TASK:


Visit the Challenge of Materials gallery and select one material that inspires you that you have learnt something new about - make notes on its applications, properties, development.

Walking into the Science Museum I was instantly drawn to the wavy,  technicolour sandwich sculpture positioned in the centre of the gallery. On further inspection you could see that this object was made using the greatest and largest variety of materials possible. There were hundreds of curvy layers of different colours and textures in cloud like shapes.
    The artist behind the sculpture 'Materials House' is Thomas Heatherwick who designed the exhibit to show 'everything that anything can be made of' - from astroturf, plastic, metal, lace, felt, polystyrene etc. Heatherwick decided to bond together 6 metre high pieces of every material there is to construct an enormous feast for the eyes and hands. Weighing about 4 tonnes, Heatherwick sourced more than 80 suppliers and bonded together these materials to create a solid single elemented structure. Each piece protrudes out allowing the surface of every material to be seen. The pattern can be viewed from both sides creating a crazy, geometric pattern that intertwines and becomes increasingly intricate as the layers become more stacked. With 213 layers in total, each 6mm thick there are more than 2000 individual shaped parts. It is like a mammoth cross section, as if somebody has taken a knife and sliced into the most multicoloured object imaginable. I think it is a fantastic sculpture as it truly suggests that there are no boundaries with material and that the skys the limit. Heatherwick successfully resorts the viewer back back to a that of a child, playfully touching and examinining every material, exploring in and around it. He suggests the versatility of all the materials and the different properties and appearances they offer. Materials are endless and used in every part of life from the moment you wake up, brush your teeth with a plastic toothbrush, wash your face with an absorbent towelling fabric, eat off a china plate and then sleep in a cotton lined bed. 

Materials House - Thomas Heatherwick

 

213 layers

There are hundreds of different materials in the world, all with different properties; be they physical chemical, environmental, sensory, optical etc. All have different weights, thicknesses, textures and applications. These properties determine the ways in which a material can be used. Each have their own functions, be it warming, cooling, insulating, protecting, supporting, cleaning, strengthening, gripping... the possibilites are endless. There are numerous advantages and disadvantages for each material depending on the job at hand thus you would need to select the material that is most suitable for your task. When choosing a material you could think of the durability, cost, appearance, fashion, culture and product in mind. I found it interesting to think that the same object could be made out of different materials but each would alter in function, size, shape, weight, cost, colour, texture etc. 

Details of all the materials in the Material House exhibit

  

The material I have chosen to analyse is:

MARBLE

Marble is a type of metamorphic rock that is made up of calcite (a crystallised form of calcium carbonate). Metamorphism is the recrystallisation that occurs when pre-existing rocks i.e sedimentary rocks are put under constant changes in heat and pressure under strong physical and chemical conditions. It causes the recrystallisation of the original carbonate mineral grains and forms a solid interlocking mosaic type structure of crystals. The intense temperatures and pressures exerted onto the original sedimentary rock destroy all of the fossils and textures of the rock creating a much smoother and softer material. I found it interesting to find that no piece of marble is the same, each have their own imperfections and colours.

Marble can come in a variety of different colours:

• Pure white marble is the metamorphosism of very pure limestone or dolomite protolith. White marble suggests an importance and decadence which is why Greek and Roman sculptors were keen to create popular figures out of the stone. It has since become a symbolic material and has been used to sculpt traditional, royal or religious figurines. Light is also able to penetrate several millimeters into the stone because of its low refraction of calcite allowing a more waxy/shiny appearance. This quality allows marble sculptures to appear more realistic and lifelike and the slight transparent surface makes it similar to human skin. 
• Most marble however is known for its magical swirls, spirals and irregular veins of colour. These characteristic patterns are the product of a mixture of mineral impurities (clay, silt, sand, iron oxide, chert) found in the original grains or layers of limestone. They affect the mineral composition producing a streaked design thus they are not pre-empted but more a natural, uncontrollable reaction. When sliced or cut into pieces they produce beautiful, fanciful designs. There is no clear or discernible grain just the result of impurites that streak the rock.
• Green marble is a result of high levels of magnesium limestone or dolostone with silica impurites. These impurities can be moved around under intense heat and pressure before being recrystallised. 
• Marble can also be pink, black or grey or streaked with a mixture of the above. 

Uses: 

• Art and architecture - Marble is extremely decorative and when used in homes it symbolises wealth, prosperity and power. This is perhaps why famous galleries and educational institutes are made of pure white marble.
  
• Garden pavings - The natural marks in marks create a rather organic pattern perfect for paving.
• Sculpture - Marble is carved and highly polished to give its traditional smooth and pure texture.
  
• Building material - pillars/columns..
  
• Mantles/Windows/Fireplaces
  
• Flooring - Marble is often used in kitchen where floors can easily be wiped and cleaning, however it can often be cold underfoot.
  
• Counter-tops - Bakers are known to work on marble counter-tops due to the fact that the stone can stay cool and thus when dough is rolled out there is no need to worry about it sticking. Marble unlike wood resists oil, therefore it is a great surface to cook on as can easily be cleaned and wiped down.  
• Tiles - showers, floors
  
• Soap - When crushed or finely ground marble can be used as abrasives in soap
• Soil treatment products 

Properties/Advantages & Disadvantages

• Brittle/ Relative resistance to shattering
• Hard
• Compact
• Fine to very fine grained metamorphosed rocks that take well to shining polish
• Relatively durable  - It does not show signs of deterioration easily.
• Easily workable
• Smooth
• Easy to clean - you do not need to worry about it getting wet or damp as it will not erode or disintegrate.
• Less than 0.5% water absorption
• Low porosity
• Resistant to fire and erosion - Can withstand weathering
• Heat resistant - Ensures uniform temperature within the home. 
• Some marble can not be very useful due to the flaws or cracks that can occur under extreme heat and pressure. The cracks can cause the marble to break and shatter thus when sculpting you need to consider the purity of the stone and be experienced working with a wide assortment of rock types.

'David' - Michelangelo

Hugely famous Renaissance marble sculpture - Italy

Examples of Marble:

I thought the Challenge of Materials gallery was extremely interesting as it provided me with an insight into a variety of different materials, many that I had never even heard of. It was highly factual and informative with small swatches of all the materials that allowed me to visualise exactly what each looked and felt like. The exhibit was visually appealing and atractive to the senses thus suiting my tactile nature.

Trash Fashion: Designing Out Waste

TASK:

Visit the Trash Fashion exhibition and..

1. Write reflective notes on your experience of the exhibition, what you learnt and explain the different processes/approaches to 'designing out waste' from 3 differing projects - discuss the merits of each approach in contributing to the sustaining of the environment and what the issues might be regarding what IMPACT they can have.

SCIENCE MUSEUM: Antenna Gallery - Trash Fashion

The trash fashion exhibition aims to show the public how harmful their waste is to the environment. Most of the time people throw away perfectly good clothes that have been worn maybe only once, or were bought, never worn and then thrown away. Both of these are contributing factors to the amount of dyes, polymers and toxic chemicals that are contaminating our environment. I think the trash fashion exhibition is excellent as it shows how as an individual you can really be resourceful with your clothes thus preventing the release of harmful chemicals and build up of landfill. 

Trash Fashion asks :

   'How can the latest design and technology help to create wear without waste? And what can we all do to reduce the impact of throwaway fashion?'

Living in a world where celebrity fashion dominates the cover of every magazine, fashion is becoming more and more demanding. It has since become a tool to symbolise one's identity and individuality; new trends come almost daily and manufacturers have to compete with each other thus contributing to the waste and breakdown of the planet. High street fashion means people are buying more clothes, wearing them once or twice and then disregarding them in a rubbish heap. Fashion designers have thus begun to create beautiful garments that are not only fashionable and wearable but green and friendly to the environment.

1. Material Desires Section: 

Most fabrics when they are disposed off takes years and years to degrade due to the synthetic fibres they are made of. What's worse is that in today's society a lot of clothes are made with these synthetics, i.e nylon, polyester and acrylic. The main issue is that when they decompose they release toxic gases into the environment creating a hazardous atmosphere.

CSM researcher and fashion designer Suzanne Lee has targeted this problem by using bacteria to grow garments. She uses nature alongside technology to create a fabric that is not only wearable but easy to recycle and decompose. Her garments, entitled 'BioCouture', are made using cellulose; most commonly a natural polymer found in plants. 

     Her cellulose however is not made from plants as plant cellulose consumes an obscene amount of water and is thus damaging and wasteful to the planet. Suzanne Lee uses 'Bacterial Cellulose' which she makes from sheets of sugary 'biofilm'. The material is produced by the microbes that ferment green tea and is grown in bathtubs of this natural stimulant alongside a mother culture of yeast and bacteria, allowing it to feed on the sugar in the mixture. As the bacteria breeds, fibres sprout and produce thin layers of cellulose that can then be molded onto mannequins to create figure-hugging shapes. The garment can then be dried allowing the edges to fuse together giving a seamless allusion. It can then be printed on using natural dyes from brightly coloured fruit and vegetables and stitched to make wearable, eco-friendly designs. 

 

Bacterial Cellulose under a microscope 

Image: antenna.sciencemuseum.org.uk

 

 

I think Lee has produced a fantastic process as she targets the main issue of water consumption and creates a sought after alternative that I feel can only improve with further research and practice. Her work appears almost like a second skin, scale-like, leathery and tea stained in colour. It reminds me of papyrus paper that Egyptians used because of its organic, multi-layered and natural texture. When molded onto a body it almost envelops it, resembling a close-knit skin imprint that will fit structurally around the body.  I like that she involves mother nature alongside modern technology to create an innovative new material.

   A major issue surrounding the project 'BioCouture' is the fact that cellulose is extremely absorbent of water. Therefore if it rains the garment will absorb up to 98% of its own weight and instantly turn into a soggy, gooey, heavy mess. Lee however, has consulted this problem and with the help of Alexander Bismarck (a researcher at Imperial College London) she hopes to add water-repellent molecules to prevent the break down of the material when wet. This would be a major concern if the garment was to be sold in shops however if the molecules work they will attach themselves to the fabric's structure as it is being made preventing any jelly-like disasters. Another merit of Lee's work is that there is already a great deal of support for her projects, with researchers already attempting to grow this bacterium on a larger scale.

    I feel her project is extremely beneficial to sustaining the environment as it successfully brings together science and fashion establishing a new ground breaking material that can only be enhanced. Lee sums up her future prospects and shows her excitement with this new technique by stating:

‘One day it might be possible to produce bacterial cellulose in a huge array of different forms, feels and colours. In the future we could find ourselves surrounded by bacterial cellulose – in our clothes, our books and magazines, our cars, our buildings… the possibilities are almost endless!’

2. Cut it Out Section 

Although designers may produce exquisite items of clothing, I always wonder what happens to the odd, off cut pieces of fabric. In order to create garments you use pattern pieces to create seams and joins within fabric. In production, a machine tightly fits together hundreds of pattern shapes in order to minimise the amount of waste material, however there is still gaps between the pieces that will inevitably end up in landfill. It is said that as much as 15% of the fabric is wasted. Sometimes these remnants can be used as stuffing for beanbags or cushions, but the majority of the time they are binned or thrown away. Designers have acknowledged this and thus begun to work their magic on creating garments that leave no waste material whatsoever.

Sandy Black; a designer at London College of Fashion has created a brand new process that uses knitting to create a piece of clothing which starts with one thread and ends with that thread - no waste involved. Black is influenced by science and mathematics and by combining her love for knitting and textiles, she is capable of creating logical, mind-blowing designs. Her new method uses 'made to measure' technology to literally scan the naked body from head to toe recording the exact dimensions of the body in only 6 seconds. This bespoke technology creates a 3D version of your body on screen that allows Sandy to draw an outfit that will fit perfectly to your measurements. The design she creates is then fed into a computer which reads her design like a book and prints out the garment all in one, meaning no loose ends, no left over scraps, no waste - just a one piece wonder! Subsequently, why make cheap tacky clothes that will inevitably be thrown away when you could have a custom made garment that will remain in your wardrobe forever?

 

 Pattern pieces fitted onto a piece of fabric (see excess waste material)

  

 3D body scan to record body proportions/dimensions

 

Black successfully portrays customer's desirability with sustainability. This made to measure formula is unique and not only fits the customer perfectly but also enhances digital technology. It is a brilliant idea as it means you will have designs that really fit you and so not only will there be no need to settle with second best, but you will have the luxury of having a bespoke creation. This will also create a huge impact on the economy as when shops produce batches of clothes, they guess the average sizes and a lot of the time their clothes are ill fitting or unwearable, amounting to waste and cost. Blacks new technique is cost effective as you get to see your garment before you choose to print it, which means there is no reason for it not to fit. Her 3D body scan also suggests there is possibly no need anymore for changing rooms. If the scanner can record all of your dimensions accurately then you simultaneously wipe out the hassle of standing in queues waiting to try on clothes only to find they don't even fit. Being able to rotate your body 360 degrees will also give the added merit of seeing what your clothes look like from every angle, which in a cramp changing room is not even achievable. I think it's a great new idea because it means you will be able to see what you will look like in a design before buying it and also it is personal to you as it will be one of a kind.        

    The only problem with Sandy's production process is the time concept. As it a new technique it currently takes a large amount of time to print each garment, however I believe that in time they will create ways to reel of designs at the flick of a switch. 

Her work also follows fellow designer Issey Miyake who successfully launched his project called A-Poc (a piece of cloth). Like Black he uses industrial knitting and weaving machines to create continuous rolls of dresses and long sweaters that can be cut to fit by the customer. It is not only a more resourceful technique but it puts the customer in control as they get the opportunity to take part in designing the shape of their product. 

3. To dye for Section 

Another issue contaminating the environment is that of dyes. Most garments contain an awesome amount of colour which although gives them a bright and vivid look causes huge problems to the world's water systems. More than 70 toxic chemicals are released into water through washes, dyes and finishes causing extreme pollution and thus problems not only to human health but aquatic life aswell. These chemicals can stay in the water forever causing havoc unless somebody stops them.

Sydney based designer Donna Sgro has come up with a master plan for creating exciting and innovative displays of colour without the use of any dyes. She mimics the irridescent colours of peacock feathers and the morpho butterfly's wings through the use of Morphotex, a nanotechnology-based, structurally coloured fibre. The morpho butterfly is one of the largest of its kind and is known for its exquisite vivid coloured wings. The sparkling scales which make up its structure are created by overlapping each other and picking up specific wavelengths of light that refract, reflect and scatter to produce its phenomenal appearance. Sgro has used this nanotechnology; known as 'structural colour' to imitate the microscopic structure of the wings. She creates a trompe l'oeil style garment that appears to shimmer with the use of light instead of dyes. Japanese textiles company Teijin manages to reproduce the microscopic structure by using '61 ulta-thin alternating layers of polyester and nylon to create each Morphotex fibre'. As each layer has a thickness of between 70 and 100 nanometres it is possible to monitor how much the light bounces, bends and scatters inside the fabric. The result is amazing, the fabric reflects light exactly like the insect's wing creating a rainbow effect of red, blue, green and violet.

The morpho butterfly's wings - afar and close up

The merit of using Morphotex is that the colour will not fade in time like most clothes in your wardrobe. Morphotex helps to sustain the environment because it does not use water, chemicals or energy and dyes or pigments to create colour. Sgro successfully follows Teijins example by getting influence from nature and creating a fabric that is magnificent under any light. The opal effect is also a contributing factor in maintaining the environment as if more people wear these clothes then it will further limit the amount of dyes being used. It is also successful in creating an innovative new style of clothes and a colour changing technology that is certain to provide a brighter future. 

 

Donna Sgro's Morpho dress

David Snoswell, a nano- colour expert at the Cambridge University has also created a colour technique that does not require any dyes. His team have observed the crazy rainbow flecks in opal gemstones and replaced the stacked glass spheres in regular opals with tiny plastic ones. This allows the fabric to bend and appear like durable plastic. When the fabric is twisted or stretched it creates fluorescent mind boggling colours as the colour constantly changes and causes havoc with the eye. I think it is a sensational design and definitely good for the adventurous youth of today. The new opal is shockingly bright and would look amazing on swimwear or party-wear creating almost an 80's retro vibe. The downside could be that it is not for everyone; however getting lighter, subtle changes in colour is attainable. 

To conclude I feel that there are many new and innovative processes that help to combat the amount of textile waste that ends up in landfill each year. With science and technology working alongside fashion the possibilities are endless and I feel this new age of fashion will only grow and grow (perhaps even literally out of bacteria). Each new process pushes the boundaries and creates disbelief within the public, which I feel only spurs designers on and in turn provides us with renewable resources that in the long term will save our planet. I for one can’t wait to get my hands on some iridescent, light reflecting, bacteria grown clothes!

Now who’s with me??

SELECT.DESCRIBE.ADMIRE - The lucky three: Reading Images and Objects

TASK:

1. Choose an object/product from a market stall or second-hand shop or found object from the area you are exploring for Rough Guide.

2. Choose an object/image/product from a shop, department store, boutique.

3. Choose an object/sculpture/painting/artwork/image from a museum or gallery

• Describe the objects/images/items - what they look like, what they are made of etc..
• List keywords that come to mind - e.g. what associations arise from looking at the items? What do you think about when you see this object?
• Now consider the CONTEXT within your area and how these might differ if they were shown in another context e.g one of the other situations, an art gallery, market stall, department store etc..

After scrutinizing the area of Notting Hill, I feel I have enough understanding of the district to allow me to compare and discuss my three items. 


1. 


The first object I have chosen is a magnifying glass that I found for £9 on a stall in Portobello Market. It was surrounded by pocket watches, postcards, old pages from books, thimbles, trinkets, biscuit tins etc. The magnifying glass has a solid glass lens that is mounted in a thick gold frame. The lens is rounded; otherwise known as convex, and appears to protude out from the centre of the lens. The frame is made of brass and shell and has a bronze painted border. The handle is also covered in a neutral shell plating in a Mother of Pearl style that appears white, pale blue and  peach in certain lights. It reflects rainbow colours when held up to the light and is quite plastic and shiny looking. The handle is chunky and quite heavy with gold coloured rings that match the interior of the frame. The rings divide sections of the handle and as it is spherical allow for your fingers to grasp comfortably around it. 

As soon as I saw the magnifying glass I immediately thought of the iconic detective Sherlock Holmes who is known to have a magnifying glass at hand to enable him to gain clues when looking at fingerprints, stains etc. It reminded me of the board game Cluedo, and is a tool most commonly associated with crimes, science and detective work. It provides instant excitement into discovery and forensics. The magnifying glass allows evidence to be viewed that is too small to see with just a naked eye. They benefit visually impaired people, making things clearer and more distinct. Magnifying glasses usually suggest a lot of mystery, however the magnifying glass I selected is rather decorative and looks like it belongs in the home of a wealthy upper class to act as an aid for reading rather than forensic science. It looks like a decadent object, rather lavish and perfect for highlighting small text. It could also be used as an aid when buying small antiques as you could use it to see cracks and imperfections.


A market stall usually consists of a table with a small shelter to protect items from rain or weather conditions. It is a temporary fixture that can be easily assembled and moved from place to place in a small amount of time. Prices of items are usually quite low as stock changes with the times and stall owners want quick profit. Some market stalls will have bright banners and posters promoting their produce that is eye catching and thus allows customers to see their stalls from afar, singling them out from their competition. Items are laid out clearly on tables with cardboard price labels in large numbers and letters. However some stalls are rather cluttered so you have to rummage in order to separate the junk from the treasure. Market stalls are usually positioned in the open air, on roads, streets and on uneven ground. They have flexible opening hours and create a friendly, relaxed atmosphere. Before buying an item on a market stall, you often have the opportunity to haggle and thus reduce the price to a more affordable or reasonable one. Stalls are lively and often raucous with stall owners yelling out prices and produce at the top of their voices. 

If the magnifying glass was removed from the market stall and placed in either a department store or museum/gallery its meaning would alter. If it was placed in a department store, you would expect the price to shoot up; it wouldn't have a sticker with the price drawn on in biro but a label made specifically for the item. It would probably be featured in a display cabinet amongst similar objects and you would probably have to ask the shop assistant to remove it in order to view it.
     If it was shown in a museum/gallery you would expect it to be placed behind a thick glass display wall and with a huge sign saying 'Do Not Touch' on it. You would expect the price to be expensive or invaluable, however you would have to ask how much it would be as objects in galleries or museums are not priced for sale. You would also expect the magnifying glass to belong to someone of great importance,an epic explorer, someone royal or famous, the reason for it being in a museum. There would normally be a small description positioned next to it explaining who it belonged to and when it was made or found. The magnifying glass would be viewed by a curator and would be catalogued in order of importance or history and then showcased under a spotlight in a clear and concise way. 
 
2. 


The second object I selected was that of a top bought for £27 in a little boutique in Notting Hill. It is a quirky shop named Appletree Boutique that sells kitsch, cutesy designs alongside accessories and jewellery. The top I selected is one size fits all and has a retro print design all over it. It is a sleeveless top with a small pocket on the left handside and two silver buttons down the centre. The design features brightly coloured birds in a repetitive pattern. It is made of 100% rayon, should only be hand-washed and is extremely lightweight. 
      The top is associated with fashion and youth. Immediately you are drawn to its vivid, eclectic pattern and the humourous birds make it appear light hearted. When you see the object you think of summer and a lively environment. The colours are eye-popping and luminous suggesting a ravey, energetic atmosphere. It is a top that could be featured in magazines, worn by celebrities or everyday people. It is easy to wear, comfy and can be worn we jeans, skirts etc.

 

In contrast to market stalls; department stores and boutiques are much more exclusive and high end. Department stores are huge buildings that stock a variety of different products in a more sophisticated and elegant way. They are usually extremely spacious with bright lights, high ceilings and beautiful display cabinets that showcase their produce in their utmost glory. Shops and boutiques are very similar in appearance with shelves and racks specifically designed in order to enhance stock. There are shop assistants on hand to advise you in what to buy and often mannequins dressed in upcoming fashions to influence the customer in whats on trend and most popular. There is often music playing to give an atmospheric environment and goods to please people of all ages and sizes. Goods are divided on different floors or sections so customers can see exactly where the items they want will be. In departments stores produce will range from expensive designer goods, clothing, electrical appliances, outdoor tools, beauty and make-up to everyday ammenities. They have changing rooms, toilets, cafes, lifts etc, to provide the perfect outing for all the family. Unlike market stalls you cannot haggle in shops, however some offer student discounts or sales where the price will be reduced. Boutiques are extremely fashionable and often offer hand-made or one of a kind garments and thus have a particular target market whereas department stores are more general as have to cater to everybody. 


If the above top was featured in a market stall, you would expect the price to drop down and for it to be perhaps poorly made or second-hand. In market stalls you expect there to be copies of well known designers yet at more affordable prices, therefore you could think that this top was a remake. You would also expect it to be placed amongst a variety of other clothes with different styles, textures, patterns and sizes. When featured in a boutique it appears in a cohesive collection and looks more exclusive and sought after, whereas in a market stall it would appear insignificant or just somebody's old top. In a market stall there would not be the luxury to try on the item in a fitting room and and it would lose any potential of being expensive.
    If this top was placed in a museum or gallery you would expect it have been worn by somebody famous or designed by somebody of great stature. The top could also be vintage or extremely expensive which could be another reason for it being shown in a museum. It would also probably be positioned on its own rather than on a rack amongst lots of other clothes like in a boutique or market stall. Accompanying it would be a professional label explaining who it belonged to and perhaps what the significance of the design meant. When placed in a gallery you begin to question the relevance of the top; it would lose its function as a garment and you would see it as being something special rather than just an average top. 


3.

My third object is that found in the Victoria and Albert Museum in South Kensington. I have selected a piece of work in the Textiles section by Textile designer Anne Wilson. In her installation piece 'Topologies' created for the 2008 'Out of the Ordinary' collection, she creates exquisite, detailed and delicate pieces made from string. Her work is extremely intricate and appears to have taken an exceptional amount of time. It is labour intensive and incorporates thousands of tiny parts. It is quite cobweb/doily like in appearance and by use of pins, black lace, thread and cloth she pieces together crotchet, lace and netting. Some look like they should be viewed under a microscope, as insects; minuscule and almost bacteria like. Her work is rather drawing based yet instead of pencil or pen she uses string as her medium. It appears dreamy and organic as each piece flows and changes shape, expanding along the way. Wilson's piece is textural and suggests a landscape due to the way her work is elevated slightly off the table. She references biology and cellular structure in her work and you can associate networks, frequencies and systems due to the linear structures, winding and wrapping across the table top. 'Topologies' is presented in a brightly lit display cabinet, protected my glass in order to preserve each piece and allow its structure to remain undamaged. 

 

 

 

 

Galleries and museums often showcase work that is priceless or of an exceptional value. The buildings that inhabit galleries are normally historic or purposely built architecture. A museum is a building that showcases a variety of different collections; be they historical, artistic, scientific or fashion based. The exhibitions will either be temporary or permanent and there will be text alongside each collection to explain exactly what it is showing and where it has come from. The Victoria and Albert Museum houses the finest collections of decorative arts and designs. It is a grand building that inhabits ceramics, drawings, sculptures, textiles, jewellery, furniture and much much more. The environment is very peaceful, there is no noise and the public respects this by walking around each exhibit in silence or in quiet discussion. Each room is pristine and you can tell it is cleaned on a regular basis, unlike a market stall where rubbish/litter is inevitable. Galleries showcase work that is untouchable and generally old with historic value, therefore the purpose and function of many items are lost and pieces are simply there to be admired.

If Anne Wilson's work was viewed in a market stall, I feel it wouldn't gain the attention it deserves. It would probably be overlooked and appear insignificant amongst the clutter and jumble of a stall table. It would not be understood as a work of art yet appear like offcuts of fabric or remnants of loose threads. It would also not maintain its neatness as market stalls are known for people hustling and shoving each other so I doubt that her piece would survive well on a small table. Without sufficient space it would lose its meaning as you would wonder why her work was there and what exactly it was.
      If her work was placed in a department store, it would have enough space and bright light for it to be shown off however, I don't know where it would go. As it is so large it could be placed in a window display where the other products would probably swamp its detail and importance. It would still look like artwork but I think it would be an accompanying piece to clothes or furniture and would not retain sole focus. Unless it was placed in a similar environment surrounded by fashion, threads etc, I feel it would look odd and out of place.

To conclude, I think it is interesting how an object's meaning can change just from the context in which it is placed in. It makes you wonder why some items have the luxury of being ludicrously expensive just because of its brand or presentation in a certain place. Likewise with market stalls, just because something is in a market stall doesn't mean it is of any less importance. It is strange how customers are willing to accept a certain price or view something as having great importance just because its surroundings.

Rough Guide to Portobello

For this task I had to re-visit my area and start analysing and describing items that caught my eye. 

First, I began by unravelling the history of Portobello's topsy-turvy road. 

 Portobello Market - West London - Notting Hill Gate Station - THE ROYAL BOROUGH OF KENSINGTON AND CHELSEA.

 

Notting Hill is a desirable district for the rich and famous where extravagant houses and high-end shops attract the fashion forward youth of today. Located in the heart of Notting Hill, Portobello Road stands out from afar with its bubblegum houses and chaotic street stalls that stretch for almost two miles. On a Saturday the road becomes heaving, with people of all ages, origins and backgrounds flocking to visit the famous Market. However this tourist attraction was not always home to such a vibrant atmosphere.

PAST AND PRESENT:

In the 1800s if someone had offered you property in Notting Hill you would almost certainly have turned it down due to the fact that there were three times as many pigs living there as there were people. Many pig farmers resided in Notting Hill when they were kicked out of Marble Arch and thus the name Potteries and Piggeries came about. In the early 19th Century the local soil around the area was majority clay and was thus perfect for bricklayers to make bricks and tiles for the growing population. 

In 1740 Portobello Road was merely Green's Lane, a road that connected a farm up to Kensal Green. It was named Portobello Farm after Admiral Edward Vernon successfully captured the Spanish town of Puerto Bello during a war between Spain and Great Britain. Greens Lane then became known as the more exotic sounding Portobello Road, allowing it to become the haven that it is now. Instead of orchards and sparse greenery encapsulating the country lane, the road became alive with industry, with shops and markets stalls set up to accommodate the wealthy inhabitants of Paddington and Notting Hill.  

The area has since flourished, with the road appealing to all communities and nationalities; where a fish and chip shop settles on one side of the road there are delectable bakeries, Ultimate falafel stalls and Jamaican cuisine being sold on the other. Its character is also built up by the higgledy-piggledy architecture surrounding the road, which juxtaposes the elegant white terrace houses of Notting Hill. The street is rather cartoon like, with shops and houses sandwiched together like sardines in a can adding to its homely appeal.

Many of the shops are named after the events that took place during the Spanish War with pubs naming themselves the 'Portobello Star' after the events at sea and an Antique Arcade called after the Admiral himself. It is such a distinct and crazy street where you will find the locals gossiping and the regulars turning up for mouth-watering grub. 

MAIN ATTRACTIONS:

Home to Food, Fashion, Antiques, Old and New Goods, it is hard to pinpoint the main attraction in visiting the area. The general buzz on a Saturday has to be the main appeal for me, where market stalls are cram-packed with beautiful jewellery, fur, bric-a-brac and exquisite antiques. There are many second hand stores and vintage pieces for the fashion conscious allowing them to turn Grandma's goodies into coveted clothes. During the week there are numerous fruit and vegetable stalls with fresh produce at reasonable prices. There are also cakes, cheese, fish and bread on offer. It is a joy to be there witnessing the stall owners calling out prices and always willing to throw in an extra apple for good measure. In never-changing true Brit style there is lively banter and heckling from the stall owners; the odd wolf-whistle and un-intelligible chants, and a comforting reminder that old traditions stand the test of time. Plus if you want to walk home with a recipe of ingredients for the perfect Sunday Roast stick it out til the end of the day where you'll hear 'Everything for a paaaand...Getcha veggies for a paaand' and all goods with be boxed up and sold to you for one English pound.

MUST: The most delectable cupcakes ever. Race to the front of the queue to sample the most amazing UK's first Red Velvet cupcake

Portobello Road is also home to fame since being featured in the hit musical 'Bedknobs and Broomsticks' and due to the massive success of Richard Curtis' screenplay 'Notting Hill'. Thousands of tourists travel far and wide to visit the iconic blue door where Rhys Ifans paraded in his cotton itsy-bitsies and the traveller's bookshop where Hugh Grant famously flicked that floppy fringe out of his eyes as Julia Roberts entered his shop.

Another attraction could be visiting the oldest movie theatre 'the Electric Cinema' which lights up neon blue at night.  

WHO LIVES/WORKS/VISITS...

Fashionistas, trend-setters, teddy boys, young politicians and artsy folk live in the affluent area of Notting Hill due to its hip reputation. People of all ages come and visit; there are avid enthusiasts, David Dickinson's bargain buyers and camera laden tourists all hoping to get the typical photo underneath the 'Portobello Road' sign. It's a happening area that attracts teens, locals and fantastically dressed men and women. The most famous inhabitant of Notting Hill has to be George Orwell; writer of 'Animal Farm' and the nightmarish 'Nineteen Eighty-Four'. Passers-by can see the plaque on his house in which he lived in 1927 on arrival to Portobello Road.

Can I live here please???

HUSTLE & BUSTLE

Week one. No sooner as we started the course were we sent out into the Big Smoke to do some research for ourselves. Having been given the area of Notting Hill/Kensington to explore, I jumped on the first tube from Pimlico with only a camera and sketchbook to hand. The aim was to collect and record as much information as possible, allowing us to gain more knowledge of our city.

Already my brain was documenting the big white houses, tall pillars, bikes, graffiti and architecture of Notting Hill and the pastel coloured streets of Portobello which looked better suited to Hansel and Gretel. 

Having collected flyers, leaflets and general rubbish off the streets, I attempted to find the Travel Bookshop from Hugh Grant's memorable Notting Hill. When approaching this famous shop, I was beckoned into a vintage store by a crazy lady who immediately asked myself and two friends to hang up clothes and redesign her shop.  After doing just that we politely left and began our investigations. I narrowed my search in Portobello Market and set to work drawing the people and documenting the numerous shops, stalls and antiques. 

 

Quickly I noticed the fast-paced life in Portobello Market and was keen to record them in colour and different textures. I enhanced my drawings with stitch and selected a page to put in our 'Rough Guide' to London. Here are a couple of my sketches and my final image which I sewed into 70 times.

Recording the amount of men and women that approached each stall within 15 minutes.