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THE JURY PANEL
Partner | Tonkin Liu
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Principal | Jas Bhalla Architects
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Principal | Ashman Architects
Workplace+Residential Meets Sustainability
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GUIDANCE
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INTERVIEWS
Winners announced: Reimagined Living & Working Space Competition 2021
COMPETITIONS
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GUIDANCE
Flexibility - is it just a fad?
THOUGHTS & OPINIONS
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GUIDANCE
COMPETITIONS | WINNERS ANNOUNCED
Reimagined Living and
Working Space
First Prize.
THE MILLENNIAL HOME BY CIARAN MAGEE
Second Prize.
THE CASA: NOT A PLACE FOR QUIET CONTEMPLATION BY IAN BUGARIN & JOE DOUGLAS
Joint Third Prize.
LOOP BY MONIKA MABIKI
Joint Third Prize.
THE MULLET BY MATTHEW EVANS
REIMAGINED LIVING & WORKING SPACE COMPETITION
Shortlisted Entries
LIVE YOUR DREAM
by Adam Sparrow, Conor Blakeman and Daniel Wilson
Lockdown forced people to reconsider their priorities and relationships with work and home life. In search of a better quality of life, many people forged new working patterns and moved away from the city, liberated by modern methods which negate physical proximity and allow time flexibility.
Nevertheless, working solely within the home is unhealthy. Whilst employers save on rent and overheads, work has invaded our homes stealing space and blurring the work-life divide.
As our freedoms return we predict the uptake in remote working will mean a downturn in traditional office demand. But with the home unsuitable and a wide-spread workforce, there is a need and opportunity for a new typology, the Work-Inn from Home.
A live-work hub sees the home invade the office, providing flexible work and living accommodation to suit the varied lifestyles of modern workers; the international traveller, country commuter and long-stay graduate to name a few.
Whilst this typology facilitates these ideas, the uptake relies on a societal shift. We opted to present our image as a bold propagandised composition capturing a social uprising as people regain control of their lives and dictate their own routines.
Lockdown forced people to reconsider their priorities and relationships with work and home life. In search of a better quality of life, many people forged new working patterns and moved away from the city, liberated by modern methods which negate physical proximity and allow time flexibility.
Nevertheless, working solely within the home is unhealthy. Whilst employers save on rent and overheads, work has invaded our homes stealing space and blurring the work-life divide.
As our freedoms return we predict the uptake in remote working will mean a downturn in traditional office demand. But with the home unsuitable and a wide-spread workforce, there is a need and opportunity for a new typology, the Work-Inn from Home.
A live-work hub sees the home invade the office, providing flexible work and living accommodation to suit the varied lifestyles of modern workers; the international traveller, country commuter and long-stay graduate to name a few.
Whilst this typology facilitates these ideas, the uptake relies on a societal shift. We opted to present our image as a bold propagandised composition capturing a social uprising as people regain control of their lives and dictate their own routines.
PODZILLA
by Ahmad Zubayr and Rasha Shrourou
In a time when office spaces are rarely used and more people choose/forced to work remotely, Podzilla provides spaces for people to live/work at home while socialising with neighbours. Inhabitants feel uplifted, free, and away from the distractions of their busy and noisy worlds. These pods are prefabricated into easy assembly elements that can be built with only an Allen-key and are available to anyone who has a window that can be retrofitted into a passageway. We have used cork as the main finish on tables and walls because of its antibacterial and noise-cancelling properties. Also, we used copper on window frames and door handles, placed vegetation and designed an operable window that changes the space into a semi-outdoor space to create an enjoyable, naturally ventilated, and clean environment. We have interpreted the ‘living’ aspect of the competition as a social hang out space as well as a space for all living creatures including plants and pets. The peg walls allow for flexible locations, heights and sizes of the tables and shelving arrangements to make a truly personal and customisable space. From the exterior, the pods appear floating yet complementary to traditional brick houses using Corten steel panels.
In a time when office spaces are rarely used and more people choose/forced to work remotely, Podzilla provides spaces for people to live/work at home while socialising with neighbours. Inhabitants feel uplifted, free, and away from the distractions of their busy and noisy worlds. These pods are prefabricated into easy assembly elements that can be built with only an Allen-key and are available to anyone who has a window that can be retrofitted into a passageway. We have used cork as the main finish on tables and walls because of its antibacterial and noise-cancelling properties. Also, we used copper on window frames and door handles, placed vegetation and designed an operable window that changes the space into a semi-outdoor space to create an enjoyable, naturally ventilated, and clean environment. We have interpreted the ‘living’ aspect of the competition as a social hang out space as well as a space for all living creatures including plants and pets. The peg walls allow for flexible locations, heights and sizes of the tables and shelving arrangements to make a truly personal and customisable space. From the exterior, the pods appear floating yet complementary to traditional brick houses using Corten steel panels.
THE COCOON
by Athanasios Paraskevopoulos
Social distancing, self-isolation, working from home: phraseology that would probably make us think of dystopian scenarios - until one year ago, that is. Now it has forced its way into our everyday vocabulary, our thoughts, our personal and/or collective ethos.
Isolation can prove to be challenging for many of us. It can contaminate a well-scheduled routine, our inner balance, relationships with others. This is a good time to rethink its nature, embrace its harsh qualities and employ bold and radical angles when attempting to make the most of it.
The proposal presented here shows a series of single-user studios. These “cocoons” are suspended in urban space leftovers, empty spaces among places. Each one offers the basics for spending a few days / weeks / months / … while working: bed, desk, kitchen, bathroom, storage space. It is also neighbouring to several identical ones, providing a sense of community and a chance for interaction.
A modern hermitage could be a fertile ground from where lots of creativity would emerge, turning a forced necessity into ground-breaking redefinition of life, space, and Architecture.
Social distancing, self-isolation, working from home: phraseology that would probably make us think of dystopian scenarios - until one year ago, that is. Now it has forced its way into our everyday vocabulary, our thoughts, our personal and/or collective ethos.
Isolation can prove to be challenging for many of us. It can contaminate a well-scheduled routine, our inner balance, relationships with others. This is a good time to rethink its nature, embrace its harsh qualities and employ bold and radical angles when attempting to make the most of it.
The proposal presented here shows a series of single-user studios. These “cocoons” are suspended in urban space leftovers, empty spaces among places. Each one offers the basics for spending a few days / weeks / months / … while working: bed, desk, kitchen, bathroom, storage space. It is also neighbouring to several identical ones, providing a sense of community and a chance for interaction.
A modern hermitage could be a fertile ground from where lots of creativity would emerge, turning a forced necessity into ground-breaking redefinition of life, space, and Architecture.
CONTINUUM
by Ben Couture
Represented through the art-like monolithic surface, life and work activity move a step closer towards a state of continuum.
With this comes the potential of new freedoms, closing the gap between the things we value and the things we do for money.
The blissful blurring of boundaries opens new possibilities for our definitions of space, which should be approached with purpose, optimism and appropriate caution.
Represented through the art-like monolithic surface, life and work activity move a step closer towards a state of continuum.
With this comes the potential of new freedoms, closing the gap between the things we value and the things we do for money.
The blissful blurring of boundaries opens new possibilities for our definitions of space, which should be approached with purpose, optimism and appropriate caution.
THROUGH THE WALL
by Beth Day
The artwork is conceived as two front doors and associated gardens focussing on the need for separation between live and work areas within the home, creating a notional ‘commute’ between the two.
The spaces are shown to have distinct personalities; one an overgrown haven to relax and play, the other a manicured area to be productive and focus. The wall between the two spaces is necessary to provide mental separation and physical privacy, creating two different worlds through the wall...
The artwork is conceived as two front doors and associated gardens focussing on the need for separation between live and work areas within the home, creating a notional ‘commute’ between the two.
The spaces are shown to have distinct personalities; one an overgrown haven to relax and play, the other a manicured area to be productive and focus. The wall between the two spaces is necessary to provide mental separation and physical privacy, creating two different worlds through the wall...
THE MILLENNIAL HOME
By Ciaran Magee
Jack is a millennial.
Jack has been made redundant twice in two years. First in 2019 because of uncertainty around Brexit, and subsequently in 2020 due to the Covid-19 pandemic. Jack has £40,000 of student debt.
Jack lives in London, with half of their wages paying for a room in a flat with no living room. Jack had previously been employed as a part II architectural assistant, but for six months has been working freelance on a zero-hours contract. Since the United Kingdom locked down, Jack works, rests, eats, and sleeps in one room, leading to problems with insomnia and a declining mental health. To facilitate a better work life balance in the new WFH normal, Jack has developed a proposal to subdivide their 12m2 room into four distinct but connected areas for sleeping, relaxing, working, and activity. As Jack is renting, the intervention is envisioned as a piece of furniture at the scale of the room. Drawing from Escher, Antonello da Messina’s St Jerome in his Study, and Brodsky and Utkin’s ‘columbariums’ via Enzo Mari’s concept of autoprogettazione, the proposal is constructed from plywood and is fully demountable.
This is Jack’s millennial home.
Jack is a millennial.
Jack has been made redundant twice in two years. First in 2019 because of uncertainty around Brexit, and subsequently in 2020 due to the Covid-19 pandemic. Jack has £40,000 of student debt.
Jack lives in London, with half of their wages paying for a room in a flat with no living room. Jack had previously been employed as a part II architectural assistant, but for six months has been working freelance on a zero-hours contract. Since the United Kingdom locked down, Jack works, rests, eats, and sleeps in one room, leading to problems with insomnia and a declining mental health. To facilitate a better work life balance in the new WFH normal, Jack has developed a proposal to subdivide their 12m2 room into four distinct but connected areas for sleeping, relaxing, working, and activity. As Jack is renting, the intervention is envisioned as a piece of furniture at the scale of the room. Drawing from Escher, Antonello da Messina’s St Jerome in his Study, and Brodsky and Utkin’s ‘columbariums’ via Enzo Mari’s concept of autoprogettazione, the proposal is constructed from plywood and is fully demountable.
This is Jack’s millennial home.
THE NEW TABLE
by Cornelia Maria Tuglui
Over the past year, probably more than ever in our modern history, we spent, and in fact we are still spending our lives indoors. During a whole day, we are now in touch with our immediate furniture; while our private spaces are invaded by the office world. I called my project ‘’The New Table’’, a symbol for the traditional furniture which now needs to be reinterpreted in order to help the relation between living and working in the same place. The new furniture can generate new spaces and should respond in a more flexible way to our present needs.
Over the past year, probably more than ever in our modern history, we spent, and in fact we are still spending our lives indoors. During a whole day, we are now in touch with our immediate furniture; while our private spaces are invaded by the office world. I called my project ‘’The New Table’’, a symbol for the traditional furniture which now needs to be reinterpreted in order to help the relation between living and working in the same place. The new furniture can generate new spaces and should respond in a more flexible way to our present needs.
THE HOUSE IS A SMALL CITY AND THE CITY IS A LARGE HOUSE
by Dominic Walker
My painting is a reflection on the intimate relationship between the home and the city. As many have remarked, one might view the city as one great house, and then the house as a small city in its own right. The streets outside our houses are the public corridors that connect the private rooms and social living spaces of the city. They are our most democratic spaces, where anyone can observe and partake in the theatre of everyday life, no-matter their occupation, or the size of their home. For those that can work from home, the street is also a necessary relief from the isolation of working alone; it provides a haptic connection back to a world that we can relate to.
We must therefore consider the importance and quality of these public spaces, and the thresholds between them and our living spaces. We must treat the city as one large house.
A work-from-home model ought to consider all members of this city-house, not just those who have their own house-cities. It must also consider the importance of chance and theatricality to our lives. And the physical interactions, both good and bad, that can only happen in the streets, and that make us feel alive.
My painting is a reflection on the intimate relationship between the home and the city. As many have remarked, one might view the city as one great house, and then the house as a small city in its own right. The streets outside our houses are the public corridors that connect the private rooms and social living spaces of the city. They are our most democratic spaces, where anyone can observe and partake in the theatre of everyday life, no-matter their occupation, or the size of their home. For those that can work from home, the street is also a necessary relief from the isolation of working alone; it provides a haptic connection back to a world that we can relate to.
We must therefore consider the importance and quality of these public spaces, and the thresholds between them and our living spaces. We must treat the city as one large house.
A work-from-home model ought to consider all members of this city-house, not just those who have their own house-cities. It must also consider the importance of chance and theatricality to our lives. And the physical interactions, both good and bad, that can only happen in the streets, and that make us feel alive.
THE CASA: NOT A PLACE FOR QUIET CONTEMPLATION
By Ian Bugarin & Joe Douglas
We spent lockdown living and working together in an old house in Italy. We consider maintaining connectivity, physically and digitally, fundamental to our new ideas of living and working. By virtue of our community, slowly built up over the past years, we indulged in utopic ideas, finding respite in a live/work environment in rural Italy. The fresco drawing speculates on our love for sharing an old building that facilitates work and play. “E una citta dentro una citta”, a city within a city. A house without doors, the architecture and environment depicted utilises the porosity of an unfinished refurbished convent, situated within a coastal and mountainous region. Taking work as the pivotal “reason” for our collective gathering, we draw on the painting of St Jerome in his Study as an ideal environment to find focus. However, our energies are drawn not from isolation, but from the opposite. By relocating with people who use the spaces within to their own needs, different to our own, we find ourselves more intrigued by this activity than often in our normal lives. We find a new home away from home, more than just a “get away”, but an extension to our capacities for engagement.
We spent lockdown living and working together in an old house in Italy. We consider maintaining connectivity, physically and digitally, fundamental to our new ideas of living and working. By virtue of our community, slowly built up over the past years, we indulged in utopic ideas, finding respite in a live/work environment in rural Italy. The fresco drawing speculates on our love for sharing an old building that facilitates work and play. “E una citta dentro una citta”, a city within a city. A house without doors, the architecture and environment depicted utilises the porosity of an unfinished refurbished convent, situated within a coastal and mountainous region. Taking work as the pivotal “reason” for our collective gathering, we draw on the painting of St Jerome in his Study as an ideal environment to find focus. However, our energies are drawn not from isolation, but from the opposite. By relocating with people who use the spaces within to their own needs, different to our own, we find ourselves more intrigued by this activity than often in our normal lives. We find a new home away from home, more than just a “get away”, but an extension to our capacities for engagement.
THE INTREPID ARCHITECT
by Inclume Studio
At times, an Architect’s schedule can seem chaotic and overbearing; all the more apparent following the events of 2020 which affected our lifestyles and life choices. Among this disorder is a pair of ambitious inventors taking on the responsibility to reimagine the family home towards a vision of a more versatile space.
The drawing feeds our creative imagination, depicting individual elements in isolation that are designed and handcrafted onsite by the Architect. Over time these functional components are combined to form the overall reconfiguration of the existing home, changing and improving the inhabitant’s lifestyle to provide a basis for fluid and adaptable living.
The home becomes a hybrid of work and play, the Architect both designer and client.
Improvements include wider apertures for increased natural light, concealed storage solutions, a snug for online meetings, pivoting walls for space separation and a retractable workstation that can be moved externally, with a wrenched canopy above for protection against the elements.
The rationalised isometric drawing encapsulates our built vision, perceived as if it were an architectural assembly drawing. It illustrates and explores the subject's assignments at varying moments in time, providing insight towards the ever-growing domestic based life of the intrepid Architect.
At times, an Architect’s schedule can seem chaotic and overbearing; all the more apparent following the events of 2020 which affected our lifestyles and life choices. Among this disorder is a pair of ambitious inventors taking on the responsibility to reimagine the family home towards a vision of a more versatile space.
The drawing feeds our creative imagination, depicting individual elements in isolation that are designed and handcrafted onsite by the Architect. Over time these functional components are combined to form the overall reconfiguration of the existing home, changing and improving the inhabitant’s lifestyle to provide a basis for fluid and adaptable living.
The home becomes a hybrid of work and play, the Architect both designer and client.
Improvements include wider apertures for increased natural light, concealed storage solutions, a snug for online meetings, pivoting walls for space separation and a retractable workstation that can be moved externally, with a wrenched canopy above for protection against the elements.
The rationalised isometric drawing encapsulates our built vision, perceived as if it were an architectural assembly drawing. It illustrates and explores the subject's assignments at varying moments in time, providing insight towards the ever-growing domestic based life of the intrepid Architect.
ANARCHO TENEMENT
by Joseph Elbourn
Hidden between two sticky pages of LOVELESS, 50 studies of minimum dwellings carried out by DOGMA, is a 51st – The Anarcho-Tenement.
In the years following the pandemic the inability of neo-liberal politics to solve the housing crisis intersects with the renewed neighbourliness of mass unemployment and gig-home-working. A radicle group takes matters into their own hands and reclaims underused land, constructing a continuous block to mark the border of a new territory. Within ‘property ownership’ is perceived very differently, three-dimensional space is held in common and is thus divided up on basis of need, desire and capability.
Residents build their personal spaces (coloured carpets) around fixed ‘lightwell stair cores’. Through negotiation with neighbours, residents move around non load bearing partitions to expand vertically and laterally, creating innumerable layouts for different living situations, renegotiable as these inevitably change. Common ownership intuits that less frequented spaces (grey floor) like balconies, offices and ablution spaces are accessible by multiple households. Thus, the luxury of an en-suite bath or a dedicated office is communalised. This is supplemented by a shared facilities ‘corridor’ running the length of the block. This internal circulation route houses anything from a gym to a bakery and beyond.
Hidden between two sticky pages of LOVELESS, 50 studies of minimum dwellings carried out by DOGMA, is a 51st – The Anarcho-Tenement.
In the years following the pandemic the inability of neo-liberal politics to solve the housing crisis intersects with the renewed neighbourliness of mass unemployment and gig-home-working. A radicle group takes matters into their own hands and reclaims underused land, constructing a continuous block to mark the border of a new territory. Within ‘property ownership’ is perceived very differently, three-dimensional space is held in common and is thus divided up on basis of need, desire and capability.
Residents build their personal spaces (coloured carpets) around fixed ‘lightwell stair cores’. Through negotiation with neighbours, residents move around non load bearing partitions to expand vertically and laterally, creating innumerable layouts for different living situations, renegotiable as these inevitably change. Common ownership intuits that less frequented spaces (grey floor) like balconies, offices and ablution spaces are accessible by multiple households. Thus, the luxury of an en-suite bath or a dedicated office is communalised. This is supplemented by a shared facilities ‘corridor’ running the length of the block. This internal circulation route houses anything from a gym to a bakery and beyond.
THE NEW WORLD WITHIN US
by Lea Velichkova
Everyone’s life changed over the last year and I believe our living and working spaces should adequately reflect that. Through this semi-abstract art piece, I wanted to express my vision for the “new normal“ where our living spaces not only accommodate working from home. I believe that this new harmony should start within us. Respectively, the head in this drawing represents each person “reshaping“ their own reality and spaces for the new conditions.
Now more than ever we need to take care of our mental health as well. Our mentality can be benefited by certain features like plants, natural light, warm colours, bigger terraces, differentiated zones for work and for all the new hobbies that we started during the lockdown. My concept design has been based on all of these elements.
The ground floor is thought as a co-working space where the layout allows social distance in the cases that it is needed. The first and second floor are with dual functionality, providing different options for positioning the working area.
Everyone’s life changed over the last year and I believe our living and working spaces should adequately reflect that. Through this semi-abstract art piece, I wanted to express my vision for the “new normal“ where our living spaces not only accommodate working from home. I believe that this new harmony should start within us. Respectively, the head in this drawing represents each person “reshaping“ their own reality and spaces for the new conditions.
Now more than ever we need to take care of our mental health as well. Our mentality can be benefited by certain features like plants, natural light, warm colours, bigger terraces, differentiated zones for work and for all the new hobbies that we started during the lockdown. My concept design has been based on all of these elements.
The ground floor is thought as a co-working space where the layout allows social distance in the cases that it is needed. The first and second floor are with dual functionality, providing different options for positioning the working area.
THE MULLET
By Matthew Evans
Around the time that I heard about the competition, I recall hearing that the mullet was making a comeback. With this in mind, I read the brief and thought about the classic attributes of the hairstyle - 'Business at the front, party at the back’. I thought this would be a great concept for a home.
Being from South Africa, I was inspired by the barbershop murals you see back home. I love the way the murals use characters and objects to sell a hairstyle as if it was a lifestyle choice. Using this as inspiration, I wanted my artwork to tell a story in an almost cheesy way, using 80's iconography to combine the barbershop mural with a pop-art nostalgia.
The main character in my artwork is Arnold. Like most people, he had to sacrifice a lot during the pandemic and he had to slim down his operations in order for his business to survive. But he found a way, he converted his garage into an office and now runs the business out of his home. He even found a new hairstyle, one that is easy to maintain and makes him stand out from the crowd.
Around the time that I heard about the competition, I recall hearing that the mullet was making a comeback. With this in mind, I read the brief and thought about the classic attributes of the hairstyle - 'Business at the front, party at the back’. I thought this would be a great concept for a home.
Being from South Africa, I was inspired by the barbershop murals you see back home. I love the way the murals use characters and objects to sell a hairstyle as if it was a lifestyle choice. Using this as inspiration, I wanted my artwork to tell a story in an almost cheesy way, using 80's iconography to combine the barbershop mural with a pop-art nostalgia.
The main character in my artwork is Arnold. Like most people, he had to sacrifice a lot during the pandemic and he had to slim down his operations in order for his business to survive. But he found a way, he converted his garage into an office and now runs the business out of his home. He even found a new hairstyle, one that is easy to maintain and makes him stand out from the crowd.
LOOP
By Monika Mabiki
A Bedroom of rectangular shape, 3 x 4 meters, with a large sash Victorian window of full height and consisting of a bed, a desk, a chair and a painting amalgamates into a 9 to 5 office.
The spectator witnesses an inhabitant of the space captured between two frames which act as portals; one frame being a window that unveils the restrictive reality of the bleak present, whilst the other frame belongs to a Mark Rothko painting which evokes the contrasting sentiment towards a freeing journey.
The person caught between the two juxtaposing portals recently encountered an upheaval of their space, driving them to become an architect of their own surrounding.
It is a space of contrasts, whereby a person works and lives, enduring privacy and invasiveness, uncertainty and safety, solitude and closeness, staticity and movement.
The reflection of the window against the glass frame of the painting reveals a tower-block, housing people that cannot be reached and a nature that cannot be accessed but which similarly to the Rothko painting pervades the space with undisturbed calmness.
This all occurs within a gap between two virtual portals, through which the gazer reimagines parameter of their existence.
A Bedroom of rectangular shape, 3 x 4 meters, with a large sash Victorian window of full height and consisting of a bed, a desk, a chair and a painting amalgamates into a 9 to 5 office.
The spectator witnesses an inhabitant of the space captured between two frames which act as portals; one frame being a window that unveils the restrictive reality of the bleak present, whilst the other frame belongs to a Mark Rothko painting which evokes the contrasting sentiment towards a freeing journey.
The person caught between the two juxtaposing portals recently encountered an upheaval of their space, driving them to become an architect of their own surrounding.
It is a space of contrasts, whereby a person works and lives, enduring privacy and invasiveness, uncertainty and safety, solitude and closeness, staticity and movement.
The reflection of the window against the glass frame of the painting reveals a tower-block, housing people that cannot be reached and a nature that cannot be accessed but which similarly to the Rothko painting pervades the space with undisturbed calmness.
This all occurs within a gap between two virtual portals, through which the gazer reimagines parameter of their existence.
NON-CONSENSUAL TELEPORTATION
by Paveena Sidhu
Taking influence from graphic designers, Ashley Edwards and NORM, I have decided to make a collage that showcases images of experiences pre-COVID-19 whilst contrasted by a post-COVID-19 vision. On the outer parts of the piece, events that took place pre-COVID-19 are shown where large crowds gathered (e.g. going on the tube, restaurants, festivals, concerts, parties). People were seen to be ignorant, rushing around from place to place and therefore, lacked appreciation towards others and the surrounding area. The recent pandemic has made everyone reflect on their current situation, whether that be domestic or labour. The ways in which the world works have changed abruptly. My vision for a dual living space is shown through the abstract where a kitchen/ social space is provided alongside a workspace. Large windows are accompanied in the space as it is scientifically proven that working with a view is better for your mental health. The reason why I have framed the vision for post-COVID in such a way, with hands pulling open the ‘barrier of the past’, is for the viewer to add positive connotations; words relating to each section have been added. Bright coloured splodges have been added to emphasise the positive vision of openness.
Taking influence from graphic designers, Ashley Edwards and NORM, I have decided to make a collage that showcases images of experiences pre-COVID-19 whilst contrasted by a post-COVID-19 vision. On the outer parts of the piece, events that took place pre-COVID-19 are shown where large crowds gathered (e.g. going on the tube, restaurants, festivals, concerts, parties). People were seen to be ignorant, rushing around from place to place and therefore, lacked appreciation towards others and the surrounding area. The recent pandemic has made everyone reflect on their current situation, whether that be domestic or labour. The ways in which the world works have changed abruptly. My vision for a dual living space is shown through the abstract where a kitchen/ social space is provided alongside a workspace. Large windows are accompanied in the space as it is scientifically proven that working with a view is better for your mental health. The reason why I have framed the vision for post-COVID in such a way, with hands pulling open the ‘barrier of the past’, is for the viewer to add positive connotations; words relating to each section have been added. Bright coloured splodges have been added to emphasise the positive vision of openness.
RECONSIDERING HOME, WORK AND PRIVACY
by Renee Soraya Ammann
Stuck in a concrete jungle, city residents such as studio occupiers, shared households and struggle to balance their private and work life during the pandemic.
This drawing celebrates people’s perseverance through small interventions, stipulating how temporary architecture can help improve the quality of life sustainably whilst providing a new approach towards boundaries between work, living and private spaces.
Top to Bottom:
Walls have been broken down and rooftops have been occupied in the name of experiencing new-found freedom: the outdoors.
Bathrooms have been private but evolved to become spaces that allow us to escape and seek tranquillity.
Children enjoy the nooks and crannies that have been created by interventive architecture. They play and learn.
Kitchens are the centre of family life. The family has converted their window into a ‘drive through’ style latch for deliveries, while the counter is a relaxed working space.
Balconies are socially distanced social spots and courtyards provide ventilated meeting spaces.
Wardrobes are sound-proof and the perfect, private workspace.
Cars have been converted to dining in cabins.
Amid new lockdown restrictions, cars became obsolete, one cannot move beyond a one-mile radius of home. Shopkeepers sell from their home doorstep; chefs use their private kitchens.
Stuck in a concrete jungle, city residents such as studio occupiers, shared households and struggle to balance their private and work life during the pandemic.
This drawing celebrates people’s perseverance through small interventions, stipulating how temporary architecture can help improve the quality of life sustainably whilst providing a new approach towards boundaries between work, living and private spaces.
Top to Bottom:
Walls have been broken down and rooftops have been occupied in the name of experiencing new-found freedom: the outdoors.
Bathrooms have been private but evolved to become spaces that allow us to escape and seek tranquillity.
Children enjoy the nooks and crannies that have been created by interventive architecture. They play and learn.
Kitchens are the centre of family life. The family has converted their window into a ‘drive through’ style latch for deliveries, while the counter is a relaxed working space.
Balconies are socially distanced social spots and courtyards provide ventilated meeting spaces.
Wardrobes are sound-proof and the perfect, private workspace.
Cars have been converted to dining in cabins.
Amid new lockdown restrictions, cars became obsolete, one cannot move beyond a one-mile radius of home. Shopkeepers sell from their home doorstep; chefs use their private kitchens.
![[Dis]connected by Rosanna Bacon.jpg](https://static.wixstatic.com/media/7e6123_e57511d2dca741878b7a61d31a3fc822~mv2.jpg/v1/fit/w_1444,h_1176,q_90,enc_avif,quality_auto/7e6123_e57511d2dca741878b7a61d31a3fc822~mv2.jpg)
[DIS]CONNECTED
by Rosanna Bacon
The proposal explores living and working within the limited boundaries of the domestic sphere. The cube represents a unit; a household. In that same symbolic volume, space is arranged differently depending on the hypothetical needs of the inhabitants : different levels of privacy, different proportions of working and living spaces, different porosities of boundaries… Opposed to the physicality of the space within the house is the virtuality of the relations between the households. The illustration aims to represent the paradox of the increase in teleworking : we are at the same time hyper connected and more and more isolated.
The proposal explores living and working within the limited boundaries of the domestic sphere. The cube represents a unit; a household. In that same symbolic volume, space is arranged differently depending on the hypothetical needs of the inhabitants : different levels of privacy, different proportions of working and living spaces, different porosities of boundaries… Opposed to the physicality of the space within the house is the virtuality of the relations between the households. The illustration aims to represent the paradox of the increase in teleworking : we are at the same time hyper connected and more and more isolated.
INSIDE-OUT: ATHROPOCENE
by Sara Abekova, Sarah Jin and Dazhong Jin
Mental Health struggle experienced by so many, including ourselves, is the focus of our concept proposal. We believe that the work-live environment balance can be achieved by adapting the spaces we inhabit to promote Movement, Interaction, Productivity, and Rest. Lack of structure and space to breathe in a multi-functional environment creates a concentration of stress, anxiety, and distraction. Which is why we designed the three spaces independently, each one of us designing a different space, thus emphasising the importance of having a full variety of sensory experiences in our daily lives.
Prior to the pandemic, our home was where we could hide from the external stresses, now all external stresses are brought right into the heart of our homes. Short-term coping mechanisms have now been exhausted and it is time to re-think our future as an immersive experience of life. Our proposal aims to enhance the senses of comfort, privacy, productivity, curiosity, movement, using imaginative expression.
The work-live environment many of us found to be in is a compressed box, the box was given as a shape and everything inside just had to fit. Our proposal looks at it inside out, i.e., starting with life that happens inside and grow is outwards in an amplified scale.
Movement that only happens inside is amplified to become an event of its own by creating safe social interactions, accidental and unique every time, with a set of corridors and a Social Deck that form an interconnected network.
Mental Health struggle experienced by so many, including ourselves, is the focus of our concept proposal. We believe that the work-live environment balance can be achieved by adapting the spaces we inhabit to promote Movement, Interaction, Productivity, and Rest. Lack of structure and space to breathe in a multi-functional environment creates a concentration of stress, anxiety, and distraction. Which is why we designed the three spaces independently, each one of us designing a different space, thus emphasising the importance of having a full variety of sensory experiences in our daily lives.
Prior to the pandemic, our home was where we could hide from the external stresses, now all external stresses are brought right into the heart of our homes. Short-term coping mechanisms have now been exhausted and it is time to re-think our future as an immersive experience of life. Our proposal aims to enhance the senses of comfort, privacy, productivity, curiosity, movement, using imaginative expression.
The work-live environment many of us found to be in is a compressed box, the box was given as a shape and everything inside just had to fit. Our proposal looks at it inside out, i.e., starting with life that happens inside and grow is outwards in an amplified scale.
Movement that only happens inside is amplified to become an event of its own by creating safe social interactions, accidental and unique every time, with a set of corridors and a Social Deck that form an interconnected network.
A CARPET FOR LIVING AND WORKING
by Sorina Siddall
The drawing depicts a carpet as a space for living and working.
This past year, many of us have been confined to a few key spaces: often it has been a single room.
This room has had to change functions, transforming into other worlds.
Here, the carpet depicts the area of activity; a room in itself transcending multiple spaces and places.
The drawing depicts a carpet as a space for living and working.
This past year, many of us have been confined to a few key spaces: often it has been a single room.
This room has had to change functions, transforming into other worlds.
Here, the carpet depicts the area of activity; a room in itself transcending multiple spaces and places.
THE FAMILY TABLE
by Tsz Ying Shum
As many people including myself have discovered in this pandemic, working-from-home with family is not easy. Not only are we confined to our dwellings with seemingly never-ending distractions, but there also is not enough space in the bedroom to work.
The piece explores the reinvented dining room where living and working overlap. The simple dining room transforms just by the way that it is inhabited, without fancy gadgets. The dining table becomes a multi-functional co-working station for the family. During the day, different worlds inhabit the room, the office, the classroom, the studio. However, many of us find ourselves feeling isolated or even trapped in our separate virtual worlds. During the evening, worlds unite into the comforting dinner table where the family is brought back together after another long day in the digital space.
Despite obvious challenges, lockdown orders have gifted a lot of us the special opportunity to have dinner with our families every evening. Even after this pandemic, I believe we will continue to hold dear to us the support we have from our families. And the dining room will continue to be the heart of daily life in more than one way.
As many people including myself have discovered in this pandemic, working-from-home with family is not easy. Not only are we confined to our dwellings with seemingly never-ending distractions, but there also is not enough space in the bedroom to work.
The piece explores the reinvented dining room where living and working overlap. The simple dining room transforms just by the way that it is inhabited, without fancy gadgets. The dining table becomes a multi-functional co-working station for the family. During the day, different worlds inhabit the room, the office, the classroom, the studio. However, many of us find ourselves feeling isolated or even trapped in our separate virtual worlds. During the evening, worlds unite into the comforting dinner table where the family is brought back together after another long day in the digital space.
Despite obvious challenges, lockdown orders have gifted a lot of us the special opportunity to have dinner with our families every evening. Even after this pandemic, I believe we will continue to hold dear to us the support we have from our families. And the dining room will continue to be the heart of daily life in more than one way.
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