Naomi Gibson

PANORAMA | London | Unit 21 | 2013

PAVILION | Tremenheere Art Park, Penzance | Unit 21 | 2013

STOCK EXCHANGE | Tangier, Morocco | Unit 21 | 2013

Panorama = “The Panorama-Map of Pedestrian Navigation”

The intention for this project was to produce a drawing that expressed the pedestrian experience and also formed a navigational tool for complex junctions. The characteristics useful to navigation in both panoramas and maps were combined into one drawing: the map elements provide information about distances and routes, whereas the panoramas display junctions – spaces where orientation and decision making take place. These panoramas are presented in a fragmented fashion within the drawing, the scene separated into views of the street and views of building elevations, the navigational plane of signposts and traffic lights highlighted, and the pedestrian is encouraged to read the scene as if looking up and above the tops of the cars and people that will surround them. The panorama-map evolved into a three-dimensional object, to be read from all angles, allowing the drawing to either be read more like a map, or for the pedestrian to ‘stand’ in the drawing, to see a virtual dissected scene of what should be before them.

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Cornwall= “Tremenheere Arts and Events Pavilion”

The Tremenheere Arts and Events Pavilion is a multi-functional building located in Tremenheere Gardens, near Penzance. Its primary function is to provide a venue space for events such as weddings, and a location for local artists to display their work. Whilst the art and sculpture gallery is quite fixed in size, the events space is flexible, two of its outer walls forming an expanding roof that opens out into the landscape. Drawing from the theme of ‘complex junction’, the pavilion is sited within a space defined by various paths, both permanent and transient, its axis defined by a junction of three geological types that lies under the grass and soil. The pavilion is further formed by other geological concepts surrounding folding and stratigraphy, from the section through the pavilion being a series of clearly defined layers, with thick granite chambers at the base of the building forming bedrock, to the loose, augmented tiles of soil and gravel forming the outer shell of the roof. The pavilion is sat within a bowl cut into the earth, the lowest point of which is directly above the geological junction.

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Tangier = “The Unreliable Narrator’s Stock Exchange”

Like the guides and verbal tales that permeate Tangier, the Unreliable Narrator’s Stock Exchange is illusory and contrary, designed to disorientate visitors and never reveal the full story. It distorts and manipulates the trade and economic information created within it, questioning the boundary between fantasy and truth, presenting a false picture of the economic health of the city. The idea of the ‘complex junction’ forms here as junctions of communication, where various threads and means of communicating come together. This draws from the Petit Socco in Tangier’s Medina, a junction and square where the main business of the city was carried out, where deals were made and where information was dispersed through one of the four post offices around its perimeter. The Stock Exchange disguises itself as part of the old Medina by becoming part of the old town wall, attaching itself to the Medina’s rich narrative and history of myths and legends.

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