Mother knows best.

Whilst I was drawing my initial sketches, my Mum had a look at my work. I explained to her how I was hoping to mould the two genres together and she mentioned that it reminded her of a Grand Designs Abroad episode that she had watched only the night before. SO, after much searching on the channelfour website, I found the page with the renovation. It was perfect for my research as it mixed old and new, not to the extreme that I'll be designing, but enough to hold importance and help me see what looks nice and works well together.

Below is a link to the page of the renovation, which has a direct link to the episode also.

http://www.channel4.com/4homes/on-tv/grand-designs/episode-guides/ireland-the-converted-church-08-06-13_p_1.html

Cyberpunk - Initial sketches.

As before, the paragraphs coincide with a sketch and picture research that can be seen in my sketchbook.

1. 1.This first sketch shows a more simplistic, smooth design often connected with the cyberpunk sub-genre. The modest table and settee placement show that the family have no more than they need. The two high rising windows are not for a view, but to let in light. They do however allowed Gregor to see into the world that is passing him by. With only a rope to climb up to his room, a visitor could enter the house and be easily forgiven for not even noticing there was a room above their heads. Gregor’s room has only two pieces of furniture, a mattress on a bare floor and a chair with missing padding. I wanted to show the features deconstructed – another prominent part of the cyberpunk theme – to parallel with Gregor’s feelings. The wires above his head were purely decorative whilst he was still a human, but now he has turned into something else, I couldn’t help but think of the animal enclosures at zoos where they have these sorts of structures to play on and ease boredom.

2. 2.The sketch here followed on from my thoughts on animal captivity and I decided to try out a cage effect on Gregor’s room. It would be constructed of lasers or light beams, but somehow hidden from the people below. In a cyberpunk world it would be seen as normal to have lasers, light beams and pole in a household, so I doubt this room would be seen as strange. But Hiding Gregor’s new form would maybe be tricky. The entrance to the house would be through the tube at the left hand side of the stage, with the lodgers able to make a grand entrance and taking up little of the needed space. This need for space, especially with the arrival of the three lodgers also gives reason for the simple dining set and the ladder that can be moved away and stored.

3. 3. I decided to try opening up Gregor’s room to the audience, with the cage enclosing him too much. It made me wonder if it would- for some audience members- make it harder to connect to him and the changes he is going through emotionally and physically. I took inspiration from padded cells, making the interior stark and to capture the cyberpunk theme I chose sheet metal with rivets in panels. The setting this time is much more friendly than previous, with a radiator, sliding door, living room set and a large mirror on the left side wall. The tube idea from the earlier sketch has this time been used for Gregor’s room, making it more of a feature. It can also be seen as a prompt for the lodgers asking questions about what is in the room.

4. 4.This sketch is very minimal. The doors to both the family living area and Gregor’s room are made from hundreds of metallic strands to create a cyberpunk bead curtain. There is another door this time, where it leads is up to the audience to guess. It may be another part of the small house, a cupboard or leading to a garden of some kind. The three windows in a slot shape came about from watching the matrix as there is a very small amount of light used throughout the film when they are in the cyberpunk world. The markings on the floor indicate where a living room set is hidden underneath, that would come to the surface when needed. There is no visible entrance to Gregor’s room in this design and I like the idea of him just appearing, leaving the audience with a sense of wonder as to how he is achieving this.

5. 5. With the fifth and final sketch I took ideas from the four previous and brought them together. I have tried to create a more comfortable setting, with a living room set and a set of cupboards at the back of the stage. The repetition of the slot windows still holds a sense of the cyberpunk sub-genre, but lets in more light and the tube used for Gregor’s room doesn’t seem so out of place as before. His room is clad in small sheets of metal, slightly changing the idea of the padded cell I had before.

English Gothic Horror - Initial sketches.

The paragraphs all coincide with a page of picture research and a sketch that are in my sketchbook.

1. Gregor’s room is clad in dark wood panelling, to add a sense of gloom and despair. The door has moved to the side of the stage so that Gregor would be able to look through his door and see the lodgers who arrive. The fire underneath the room symbolises a warmth that Gregor is missing, the comfort that the rest of the family and the lodgers have taken from him. The table and sofa are simple but show easy comforts and it’s a happier place to be than upstairs. The ladder upto Gregors can be easily moved and stored away, restricting Gregors access to normality and hiding him away from visitors.

2. With this second sketch I decided to keep the fireplace the same, but move the door. It occurred to me that having it there could show a level of secrecy towards Gregor, blocked from his view. The stone steps are narrow and against the wall, looking as though they are being pushed in to hide them and what they lead up to. Gregors walls are made up from stone also, to add a coldness that reflects his situation and feeling. The wooden flooring would be a warm tone, unlike in the previous sketch. There is no furniture, suggesting that the area underneath is more a hallway or living space not used often by the family.

3. This sketch is very similar to number 2, but by changing the stairs and adding windows I feel I have made an important difference. Gregor can now see into the outside world, adding a sense of loss perhaps or maybe a sense of hope that he may escape and become accepted. The winding staircase means Gregor’s room isn’t hidden away, prompting the lodgers to ask questions as to what is up there and making noise. I also got rid of the fireplace, showing a certain coldness surrounding the whole situation.

4. The stone flooring was chosen to show a certain air of grandeur that is left out in Gregors room, and the fireplace moved to the side so that he may view the warmth he is missing not only literally, but mentally too. The furniture is basic and the 3 chairs are first used by the family, then by the lodgers who arrive. I chose not to add in extra chairs as the family become the servers of the lodgers, trying to impress them with their helpfulness and willing nature.

5. In the last of my sketches I decided to go in a different direction completely. I had explored the idea of the structure/floors/walls setting the tone, but this time decided the features/furnishings could also achieve this. The wall hanging would be faded and tired looking, to show a sense of what used to be when Gregor was earning money for the family. The window on the back wall is decorative and ornate, a common feature in gothic horror settings and another way to portray the loss of the wealth they had. Gregor’s four poster bed turns into his prison and the posts can act as a suggestion of walls and imprisonment.