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With a large talent pool of artists and architects graduating from Oxford Brookes each year, it seems only right that we collect some of their art.
The first works were purchased in 2017 and are installed across Oxford Brookes University campuses.
This work has been developed around the contrasting images of the Atacama Desert in the artist’s native country, Chile. The sea in the west and the volcanic mountains in the east are both captured at different times and in different media and brought together. The FC2 is a digital fusion of two original art works by Acevedo: a black and white photograph taken in the Tatio Geysers in January 2017, with part of a diptych oil painting Misty Coast based on the Atacama seacoast in 2006.
On describing her art, Acevedo has said:
“ When I work I search for that place inside myself where I can find stillness. Once there, I connect profoundly with everything around me. Physical forms then vanish, leaving space for colours and textures. I am one with all that is.”OBSAFri, 23 Nov 2018 13:01:09 GMT
This is an architectural design celebrating the teaching of angling within the Oxfordshire community. The premise of the Institute is to reduce food shortages by teaching users the self-sufficient skill of fishing. The design has taken in to account the benefits of having an amplification of direct sunlight and internal acoustics for the building's users.OBSAFri, 06 Jul 2018 07:58:00 GMT
These two digital prints are from a series called Traced by Language which were made as a result of a performance by Yip entitled Written Movement (2017). Through a series of movements and sounds the artist attempted to travel cognitively between physical and mental states. She began recording her journey via mark making, using black charcoal as a physical trace of her movement. Although the physicality of her body never changes, it is consciousness that travels between the two dimensions. Yip’s work is inspired by the poetics of consciousness explored by French philosopher, Gaston Bachelard.OBSAFri, 06 Jul 2018 07:57:49 GMT
An architectural design for a mobile lightning research station located in Dungeness, UK, which provides a laboratory space designed to be struck by lightning in order to attempt the harnessing of its energy.
Radars monitor the increased negative charge in the ground during storms and are able to detect the likelihood of a lightning strike. The whole station then moves toward the most negatively charged area to await a strike. Mid-storm, spectators are able to watch the whole process on a special viewing platform protected by a faraday cage type structure. This diverts the electricity, making lightning strike watching a safe experience.OBSAFri, 06 Jul 2018 07:57:31 GMT
Recycling Surplus Factory examines how the value of urban material can relate to the fabric and lifespan of a building. Deptford Market as a source of the material becomes an integral part of the design, and rooms for processing waste are raised over the market on concrete pillars.
Deptford Creek is unique in London for its post-industrial character and tidal waters that result in high flood risks. As such, the perceived value of each service provided in the building is reflected hierarchically in the floor plan. Services with less value are closer to the ground, while high value activities and archives are on the top levels – clear of the high water marks and therefore safe from flooding. This ranges from shredding paper at one level, to collecting documents of high cultural value on the highest floor.
Each part of the building has a certain purpose and lifespan and this becomes apparent in relation to the use of different materials – wood has a lifespan of 30-50 years, and concrete 200-400 years.
The bu…OBSAWed, 14 Feb 2018 09:40:56 GMT
Writer’s Retreat is a pavilion design for a writer-in-residence in Deptford, London. Shaped by the environment to form three unique studios with different views, interiors and sound qualities, the pavilion is designed to counteract writer’s block. The site provides an opportunity to engage with the debates surrounding culture-led redevelopment, established communities and regeneration in deprived areas.
With a view over Deptford High Street, the writer observes a place that, three times a week, is transformed from quiet street to bustling urban market, offering everything from toilet rolls to evening gowns. The pavilion invites the public to sit down and step away from the commercial market, whilst listening to the life of the street as a storytelling space.OBSAThu, 02 Nov 2017 16:08:50 GMT
Chalk & Flint embodies the physicality of walking and is conceptually centred around an encounter with place, shown with the selection of geographically specific materials. Two of the films show the artist passing a rope through the drilled centre of a piece of chalk, filmed from two separate viewpoints. The other two films show the artist performing the same process with a piece of flint, filmed again from the same two viewpoints. This repetitive action measures the materiality of the stones in the presence of time and movement. The cutting edge of the flint brings about the demise of the rope, while the softness of the chalk gives way as the hemp fibers are passed through it. The rope is a cutting device and a material to be cut. The layering of dust on the floor records the passing of time, while the markings on the body provide a testimony to the physical endurance of grappling with the unwieldy weight of the stones. This is a work that is very much about experience and process. The performance ends when…OBSAWed, 11 Oct 2017 13:47:49 GMT
Blue Planet Biophilia is a collection of final drawings, diagrams and renders that explore how water can be integrated into the workspace to benefit workers’ wellbeing. According to biologist E. O. Wilson, ‘Biophlia’ refers to an innate and genetically determined affinity of human beings with the natural world. These designs show how water can provide natural ventilation and a more ‘biophilic’ atmosphere.
With sites in both London and Barcelona, Dechow focuses on designing spaces where the user is surrounded by both the physical presence and the natural acoustics of water. The final design shows an ocean-plastic recycling hub with an adjoining design studio on the coast of Barcelona. Giant cones bring the rolling, crashing and lapping acoustics of the water beneath the building up into the workspace, where designers can sit and work surrounded by ocean views, and the comings and goings of the Mediterranean fishermen.OBSATue, 22 Aug 2017 14:36:25 GMT
Trace forms part of a series of work that explores the complex relationship between absence and presence via the medium of the artist’s body. Powders are applied to the artist’s skin to leave traces of the human body, resulting in mysterious and haunting images that memorialise what was once present. Coble’s interest in the themes of loss and decay, and in particular the curious simultaneity of absence and presence, have been influenced by poetry and philosophy.OBSATue, 22 Aug 2017 14:36:01 GMT
Transcendence explores memory, loss, sentimentality and vulnerability. It investigates the act of ‘moving on’ taken from Buddhist thought.
The four videos explore the four stages of grief: crying, suffering, letting go and moving on. Poon is interested in the concept of the spiritual journey - the healing process that goes beyond the experience of loss. The number four has special significance given its association in Western culture with cycles, stability and positivity. A square has four sides. There are four seasons in the annual cycle of growth. The number four is a Biblical symbol of completion.OBSATue, 22 Aug 2017 14:35:36 GMT