A Creative Exploration through a 19th century Victorian Bath House
In the heart of London, the Victorian Bath House stands as a place where history converges with design, forming an architectural gem. The project centers on an exploration of the Victorian Bath House, unearthing its historical significance and contributing to its revival.
During the expedition into the depths of this small yet significant structure, I delved deep into the historical context that shaped its existence. The research unveiled the origins of Turkish baths and their introduction to Britain, providing an understanding of their unique role in the society of their time.
One aspect of this investigation entailed modeling the building as a vector-based illustration. Through these illustrations, intricate architectural details and captivating motifs were captured, bridging the gap between the past and the present, allowing history to speak through artistic expression. The illustrations inspired me to take things a step further, deciding to use the motifs and colors from the exterior of the Victorian Bath House to design two Turkish rugs. These rugs, it was realized, would seamlessly blend art and history, reflecting the rich heritage of the Bath House. It was a way to pay homage to the past while creating something new. However, these designs were not meant to remain confined to this project only. The aim was to share them with those who could appreciate the history as much as they did. With the elaborate historical research and beautiful rug designs I decided to combine them into flyers, not only recounting the historical story of the building but also featuring the rug designs on the reverse side. These flyers were envisioned to be more than just pieces of paper; they were intended to be conversation starters for guests of the Victorian Bath House.
Embracing the Conditional Design Process & Approach
In the Conditional Design Workbook, Maurer emphasizes the importance of embracing a process-centric approach rather than fixating solely on the outcome (Maurer, 2013). In this project, the exploration was initiated by visiting the site several times and conducting thorough observations and inquiries. This aligns with the Conditional Design’s emphasis on process, as the investigation was not limited to basic observations; it also delved into historical research and the understanding of the reasons behind the construction of Turkish Bath Houses in 19th-century London. The project, in itself, stressed the significance of engaging in a deep understanding of the subject matter over rushing to create the final design outcome.
Maurer’s workbook provides a fresh perspective that champions the value of the design process over the end product. It suggests that designers can benefit from embracing external influences, which Maurer aptly terms ‘input.’ In this case, the input, namely the detailed patterns and motifs of this historical beauty, culminated in the creation of accurate vector-based illustrations of the building, which later evolved into rug designs. Incorporating the original motifs of the Victorian Bath House into Turkish rug designs, these designs became a testament to the richness of its history.
Exploring the Theme of Design Authorship: Bridging History and Contemporary Revival
Exploration of the concept of authorship in graphic design, Rock discusses the evolution of what it means to label a graphic designer as an author (Rock, 1996). At its core, authorship entails the act of originating or giving form, a concept with connotations of authority and creative ownership. Designers, traditionally seen as problem solvers, have increasingly sought to inject their own voice and critique into their work, leading to the concept of auteur theory. In the design realm, this theory translated to graphic designers seeking not only technical proficiency but also a signature style and a consistent vision that transcended individual projects.
Rock’s article, “Designer as Author,” explores the concept of authorship and design, and the themes it addresses are highly relevant to and centered around the restoration and revival of the Victorian Bath House. Even though the real author of the building was the architect G. Harold Elphick in 1895, during the evolution of the project, I acted as the author of the Victorian Bath House’s narrative, employing design not just as a tool for restoration but as a means to breathe life into its historical significance. By translating history into visuals, creating Turkish rugs using its motifs, and crafting educational materials, I believe the power of design authorship in presenting a historical gem to contemporary audiences has been successfully depicted.
To conclude, within Luna Maurer’s Conditional Design Workbook, a design philosophy is found that values process and embraces external influences. The Victorian Bath House project mirrors these principles, emphasizing in-depth observations, inquiries, modeling of the building, and creating new designs influenced by the original created a fusion of art and history. Additionally, the Turkish rug designs and the educational flyers embody the very essence of the themes Michael Rock discusses, forging a connection between the past and the present through the agency of design authorship. The fusion of art and history, along with the endeavor to create a dialogical experience, underscores the significant parallels between both of the articles and the Victorian Bath House project. As one journeys through the world of design, it becomes apparent that every project is not merely an assignment; it represents an opportunity to tell a unique story. This creative exploration has definitely allowed me to become the author of history and celebrate the seamless union of architecture, history, and design.
References:
- Maurer, Luna. “Conditional Design Workbook.” 2013.
- Rock, Michael. “Designer as Author.” 1996.