Architecture students from a Melbourne School of Design intensive have created eight intricate miniature sets from the Harry Potter world by J.K. Rowling in a new exhibition called “Smoke and Mirrors”.
The Burrow, Harry Potter project, Melbourne School of Design architecture students. Photo: Jannette Le
Teams were tasked with designing and fabricating an animated set model based on sourced material, with different models showing Gringotts bank, Ollivander’s wand shop, the Shreiking Shack, the Burrows (home to the Weasley’s) and parts of Hogwarts itself, including The Chamber of Secrets. Students built character profiles from source materials, then designed the spaces to reflect how the characters would have used the space.
Design and the sea are two topics that are not often connected. However, they do overlap. Design has allowed us to explore the sea, through the development of scuba among other inventions. And thanks to some recent designs, it is possible to design while on the sea, as well as for design to evoke the sea. I don’t want to be morbid, but the history of scuba has more than a couple of corpses. People have been swimming in oceans, lakes and rivers to find food and bathe for thousands of years, but it wasn’t until the 20th century that French Naval Officer Jacques Cousteau patented the Aqua Lung, allowing divers to breathe under water.
Still from Le Monde du Silence (The Silent World) via glimmerglassfilmdays.org/silent-world/
Cousteau’s influence on our knowledge of the sea cannot be underestimated. As well as developing the first Aqua Lung, he was responsible for marketing this device and bringing the sport of underwater diving to thousands. His books and films also brought the underwater world into the homes of people who had never seen anything like it before. While underwater photography had existed for nearly thirty years (National Geographic was the first to publish an underwater colour photograph – an image of a hogfish off the Florida Keys in 1928), Cousteau’s 1953 book, The Silent World: A Story of Undersea Discovery and Adventure, and documentary film of the same name were hugely successful – the film won the Palme D’Or as well as the highest prize at the Cannes Film Festival.
Via Socks Studio
Cousteau was the inspiration for the film The Life Aquatic with Steve Zissou in which, like all Wes Anderson films, each visual element is carefully designed. In this case, the ship itself is a major character in the film, especially during a scene which pans across a cut section of the ship displaying each room. This was achieved by purchasing two ships, World War II minesweepers repainted in bright colours, and actually cutting one of them lengthways down the middle. Likewise, the costumes, suits, breathing apparatus, helicopter and submarine all undergo Wes Anderson-ification resulting in beautiful redesigns. A particular personal favourite is the yellow submarine and matching helicopter.
One of the most exciting sea-related designs is not for breathing or floating on the sea, it is a system that allows anyone with a boat to create furniture using plastics found in the ocean. Japanese Architect Azusa Murakami and British Artist Alexander Groves of London-based Studio Swine are behind the Open Source Sea Chair project. The chair is created by firstly collecting plastic found in the sea (there’s plenty of it), grouping these pieces by colour, then heating them up and using special moulds and tools to create a stool seat and three legs. These are bolted together to create the stool (all of which can be done on the boat), creating a second income for those who fish for a living as well as reducing plastic pollution. You can watch the process in action in a beautiful film they made here.
Sea Chair by Studio Swine
The quality of water is often an inspiration for designers and two particular products capture this extremely well, both shown at Spazio Rossana Orlandi during Milan Design Week 2014. The first is Bricola, created by Venice-based Andrea Forti and Eleonora Dal Farra of design studio Alcorol. This collection features repurposed timber from Venice’s canals, complete with holes from molluscs, that have been combined with a clear vegetable resin (clear like water) to make tables and a stool. The combination creates a sense that a sub-section of Venice’s canals, complete with historical poles and water – is made solid.
Bricola by Alcarol
The other outstanding piece related to water is Ripple by London-based duo Hanhsi Chen and Shikai Tseng of Poetic Lab. This floor lamp is made of mouth blown glass which slowly rotates, casting shadows on the walls made by the imperfections in the glass, like ripples on water.
Here it is not the object itself which is innovative, but the effect it creates, an effect which is as ephemeral and yet constant as the sea itself.
There is a certain circularity to the relationship between design and the sea. Design (of breathing equipment, submarines and so on) allows us to see under the sea in a way we never would have before. And this knowledge and understanding in turn inspires design. A nice loop.
