Author Archives: Mark McGlynn

New Spreads

Spreads are A2. Certain sections of the drawing will be removed and placed on the A1 axo. *All drawings still need to be annotated

spreads2 spreads3 spreads4 spreads5 spreads6 spreads7 spreads8spreads9 spreads10 spreads11 spreads12

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WIP: Explode and Explain

I need to explode this WIP drawing and explain what it is saying. It is in three phases Existing, intervention and proposed. I need to decide on a format and stick to it. I am going to go with A2 Portrait with comic cells on the left and world view on the right for each spread.Exbury-All-three

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Axo of Building with all the upgrades, additions, removals, activities etc.


Each intervention is extracted and annotated with a little axo key ishowing where it is located. The annotations are in comic layout


More “Luxury” Additions


Potential final format of zoom in Existing, Demolition and Proposed on left. Then inserted in to the building on the left. As we flip through the book we keep adding a luxury to the building. Until we end up with the final Frankenstein.

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Beginning of the end…

A0 Axo of the exchange. This is the start. More inhabitants and action to come. Plus A0 section showing exchangeExbury-Axo-2

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More Cartoons


The result will be a catalogue or guide of small interventions that can drastically change the identity of space. This can be used to establish a neutral ground between polar architectures.

It uses the material, cultural and geographical identities established throughout the project to navigate toward a new architecture.

We shape our own identity constantly. It is possible for buildings that have lost their identity to do the same.

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This story begins with the forming of an identity.

What have you done in life that has led you to where you are?

Did you suffer in a car crash? Did a flying pig launch your career? Are you going to die swimming in the Cote D’azour?

Identity is formed from fragments of thoughts, experiences, and references. Matter is required to make matter. Architecture is born from ideas. Ideas are born from architecture.

Everything we do in life affirms our identity. Everyday we help shape our own identity, and that of others around us.

Identity can be established through a group/collective or individually.

This project will take you on path to uncover the identity of the architect and the building. We will discover a new architecture based on the intangible path to identity.

We seek to add value where there is no value. By establishing an identity we reveal a new perception beyond the pragmatic use of architecture.

The project negates labels such as luxury, budget, cheap, expensive. It seeks as new vision from the fragments of existing architecture. Through physical exchange we create a space that brings past, present and future together in one experience. A new identity embracing the flaws and accidents of time.

By exchanging identities we call destruction and wanton rebuilding in to question. In doing this we offer a way to change space both ideologically and economically.

Alter, Add, Remove: A new form of architecture.

Changing the ideology and economics of space.Window Exbury Windows before copy Exbury Windows bright copy Charles Gardner Windo Before copy Charles Gardner Window change 2 copy

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Fragments of iDentity forms Architecture


First few cartoon sells setting up the thesis. The introduction of fragments of identity.

The formation of identity “can never start from scratch; it always builds upon a preexisting set of symbolic materials which form the bedrock of identity”

Identity is formed from fragments of thoughts, experiences, and references.

  • Frida Kahlo embraced her pain and suffering as her identity which gave a unique dimension to her work.
  • The Eames took from pre-fabricated industrial components to create a new identity in architecture.
  • The weisenhofseidlung adopted a new form of architecture stripped from the identity of the past, a process of defensive contra-identification.
  • Mark fisher used his inflatable animals to shape the identity of his work, becoming the worlds greatest entertainment architect.
  • Yayoi Kusama’s dots became her identity, covering everything from canvases and walls to her own clothing.

These fragments constantly overlap, coinciding with a place and time to form an architecture or landscape.

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Beginning a New Identity

The process of identity formation, it is argued, “can never start from scratch; it always builds upon a preexisting set of symbolic materials which form the bedrock of identity” (Thompson, 1996)


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The Estate in Fashion – Start interiors

I need to start the interior moments where the high and low meet.

interiorThe title of my TS was the Estate IN fashion.

The perception of the tower block is changing.

“Luxury was always something scarce” or rare. With the demolition of each estate it becomes more rare. More finite.

In the victorian times the factories and the work houses had some of the poorest conditions known. Many were torn down but for the ones that remained they became some of the most expensive and sought after buildings, particularly in London.

Some estates have had a similarly ugly past, but is there a value beyond what we deem there to be?

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The perception of the council estate relies on a condition whereby the amount of construction, maintenance and addition is directly proportionate to its value.

The maintenance or addition to any spatial construct can be seen as a luxury. The repairing of cracks in the wall, a new kitchen extension, the ability to create a garden, can all purport a value synonymous with luxury.

Thesis Storyboard 2 Thesis Storyboard 22 Thesis Storyboard 23 Thesis Storyboard 24 Thesis Storyboard 25

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Time to have fun.

I have been going through all the work I have done to date. Taking in to consideration the comments of the panel and the lack of theatrics over the last two Jurys it is time to tie everything together and deliver a fun and rich project.

Attached is the basic storyboard. Lots of gaps that need to be filled. The project will be a mix of cartoon and photo realistic (kinda like south park does sometimes).

There is no name or company or specific site attached to the development. It is merely a luxury development in London.


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Luxury or Council?

Tomorrow I will pin up everything I have to done to date. I will take the advice of the panel and look at ways the project can become more flamboyant while addressing the perception of luxury in the housing market. I am looking for ways to represent the layering and styling of clothing with the layering an “styling” of housing. The identity of housing and the identity of fashion need to be addressed.



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The Poetry of the Ordinary (Bootleg)

I am working on cutting up the video of Robin Hood Gardens by the Smithsons to respond to the demolition of their housing project and the introduction of my brief. Forgive the poor quality I just recorded it from the computer on an iphone because it would take too long to compress for the blog.

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Getting Close

Working on lots of new spreads. I’m going to keep going for as long as I can until I have to bind! Attached are the un-annotated version of the start of the luxury chapter.crane insert copyLuxuryLuxury2Luxury3Luxury4Luxury5Luxury6Luxury7Luxury8

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So much time, so little to do…. Wait, no.

There is so much I want to do before the the final submission. In this chapter I need to show insertion and  I also want to address the stitching of materials i.e. close up 1:5 technical drawings of how these materials join together in their new home. Then on to the mother load ….. spreads new spreads2 new spreads3 new spreads4 new spreads5 new spreads6 new spreads7 new spreads8 new spreads9new spreads10new spreads11new spreads12new spreads13


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Drawing drawings

Just working on all the drawings for Robin Hood Gardens. Was hoping to have them done today. I will have the luxury story board for tomorrow to sum all this up.

Exploded Unit-01 exploded arrangement-01 Full SECTION-01Axo location

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Sequence update

transportI’m producing as many sequence drawings as possible. Need the lifting transporting, preparing one hyde and inserting. Am I leaving anything out?cutting whiteframed demolished white  Exbury Underpinned  Hoarding whiteExbury Insert Hyde Park copy

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Charles Gardner Court

Following the storyboard for charles gardner court. More to come annotated and photoshopped.Screen Shot 2016-02-22 at 16.50.50 Screen Shot 2016-02-22 at 16.51.09 Screen Shot 2016-02-22 at 16.51.37

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Updated storyboards of the next 30 pages


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Charles Gardner Court Storyboard

I’m averaging approx 15 pages per chapter for each building. Attached is the storyboard for the next building. It follows suit from the Exbury house removal. I will storyboard Robin Hood Gardens and go back and clean up the introduction and table of contents. Storyboard

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Ironic Luxury

Getting ready for TS Previews tomorrow.  Excited for feedback and to move forward. Below is a PS of Exbury House Hackney with One Hyde Park. I’ve concentrated on Exbury House to articulate what I’m trying to achieve.Exbury Insert Hyde Park copy

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Get in Formation

I’m going through the chapter “Cutting” with Exbury court, making it as clear as possible. Each building, under the heading “Cuting” will follow these steps:

Exbury Court > Where is it > what does it look like > What is it made of > Identify where to cut > How to cut it > How to Remove it.


******Drawings below still need to be annotated*******

I gotsta have 3 more for tomorrow.

Get in Formation


Exbury test Exbury test2 Exbury test3

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Going Forward

I have been at the London Metropolitan Archives digging up the few drawings they have on Robin Hood Gardens. The majority of the construction drawings are in the GSD Harvard oddly. Nice drawing I found on the housing situation in the 70s. I need a way of conveying the sense of urgency for this project. Large drawing? Short Documentary? I’ll be casting elements of the structure this week which will help me articulate what I plan to do, sequence of events etc.Screen Shot 2016-02-08 at 16.45.36


IMG_3610 IMG_3640 IMG_3669 IMG_3688

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Test PeaShopped Images + Storyboard

I’m really pushing to have the thesis clear and getting as many technical and explanatory drawings ready for Friday. I have done a poster/storyboard of the table of contents.One Hyde X RHG 3 One Hyde X RHG Storyboard

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TS Spreads


New TS spreads. Working on how to cut sections of the building out. Annotations to come before printing tonight. I have also drawn the physics of cutting the precast concrete. Screen Shot 2016-02-01 at 18.30.01 Screen Shot 2016-02-01 at 18.30.20 Screen Shot 2016-02-01 at 18.30.46 Screen Shot 2016-02-01 at 18.31.08

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Updated version of TS spread Value spectrum

I think I will use this layout as the spectrum template. Then possibly collage the drawings, mix/match etc.Print

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New TS – High End of the Spectrum

This is One Hyde Park Sectional axo without annotation. I will label all the elements that are considered the height of luxury suche as the triple glazed heated window and the Jatoba wood (brazillian Cherry) flooring. Then on to the estates for the same drawing.Screen Shot 2016-01-27 at 22.22.39

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New White book layout/pages + TS pages + balcony book


Working new material in to the white book. A productive tutorial with Javier today, trying to pinpoint the driving aspect for the TS. IMG_3469 IMG_3470 IMG_3471 IMG_3474 IMG_3476

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New TS Pages

I’ve started analysing housing estates and retail/fashion shows, drawing them identifying areas that might overlap with each other. Material finishes are also being looked at.TS 15 TS 16 TS 17 TS 18 TS 19 TS 20

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Rework the work to create new work

I had to nail down the thesis as I am moving in a few different directions.

Below is the text I have written, which I am correlating with previous work to articulate the thesis.

Also here are some precedent images that I’m working in to my TS as I type this. The street is vinyl facad with 3 dimensional balconies. The projected columns are from hugo boss. The mountain is OMA for Prada and is for felix….42_SS15_Venues_Chanel_AG14313 40_SS15_Venues_Dior 27_SS15_Venues_Boss 13_SS15_Venues_Prada

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Projected Identities

DSC_2644DSC_2647 DSC_2641I have been testing the notion of projecting on to buildings. The styling of each of the residents balconies, projected on to a model. I keep thinking of how we project our identity, through our clothing and our dwellings. Both fashion and architecture can be used as tools to project ones identity to the world. Often these to mediums are the most common forms of representation. I will now begin to test projecting on to other materials and surfaces. Exploring the idea of luxury and value perception in both fashion and architecture.palm copyPalm 2 copy

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I have been documenting materials and the process of making in the fashion industry. I am looking at various luxury retailers and their use of material in their stores. The finish adds to the cost among other factors. Above documents the Céline flagship store which uses Teak from tropical West African, Northern Italian marble and precious stones for flooring and Venetian Plaster which is applied in a very controlled manner and is quite difficult to achieve the desired finish.

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Back in Pink

New Year. New research, new print, new coat….. Excited to be back, lots to do.output_h7mBVi RHG Print

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The Big Question


output_aM46PVLooking at the balconies I have isolated the objects of each one and composed them in an animated gif. This shows the repetitive form of the balconies, each styled differently by the occupants. I am looking at how the industry of fashion can use the same materials for high end and low end production, where certain techniques, manufacturing, branding etc. dictates the price of a garment. Can the same be said for architecture. Taking the estate and the typology of materials used, is it possible to refashion or use cost cutting methods to create luxury materials.

1 2 3 4 5 6 7 8 9 balcony-wind-mill- balcony-wind-mill-background

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A Brave New Coat

coat-front-bluecoat-back-blue  coat-liner-pink


In 1919 the LCC commissioned homes fit for heroes to be built in Barking, East London. Chief architect G. Topham took the amenities normally found in the grand homes of London, edited and scaled them down to suit the needs of the working class families that would occupy them. The parlour was removed which gave way to dining in the kitchen. Indoor toilets, sash windows and a private garden were introduced and considered to be luxuries at the time.

Above is the first example of a coat that I have made. Taking a traditional luxury fur coat and editing it to be accessible for lower income individuals. The coat is made up of a series of layers which either mask, accentuate or describe certain behavioural elements.

This is the first of a collection that will explore the behavioural relationships between fashion and architecture, the housing estate and luxury retail and the division of public and private life.

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Current Drawing :: House Constraint

This is the base drawing for the house constraint. I am now inserting the behaviours of the grains to highlight what’s going on. *this is a work in progress*



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I visited the Alexandra and Ainsworth Estate in North London by Neave Brown. At first I took the standard architectural pictures of the facade and sweeping brick pathway cutting the estate. I couldn’t see the behavioural patterns of the residence that relates to my project. I went to the highest point in the centre of the estate. I noticed just below where I was standing I could see in to the balconies below. A table was set with some empty bottles of booze and a heaping pile of cigarette butts overflowing in an ashtray. I took a snapshot and wondered what their neighbours thought. As I kept walking and talking pictures I realised I had discovered a small world. Each of the residents with the balconies were given an outdoor space to customise and organise to their own preferences. Each with the exact same space, yet the results range from slightly similar to bizarre.  Below is the first attempt at capturing these worlds.

I am very excited for this. I need to go back and frame it correctly so they all read the exact same.

I have been working with a pattern cutter to begin to design the first full garment. The idea is to create the first outfit as the utopian dream. As each outfit progresses, subtle nuances will evolve, culminating in a final expression and celebration of human behaviours.

Link to Fashionable Estates pdf research here

Link to PDF of pictures below here


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Something In Between


I have been researching the history of the Estate over the past century. I am looking at ways to intersect between public and private life, in an attempt to develop a new model for inclusiveness and well being.

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Abstraction 2.2-01

I have gone back and revisited what I initially started. In order to establish how the behavioural patterns overlap each other I have annotated the previous drawings. This will help to describe how the behaviours of the estate will interact.

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Chanel Supermarket – Autumn/Winter 2014-15

919twkLiZkL chanel-supermarket-hashion-show-.luxuo_.com_ Chanel supermarket show Chanel-Supermarket-Sweep

Chanel – Autumn/Winter 2014-15 Ready-To-Wear

Actual Show


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Thinking TS



I am beginning to look at the the project from a TS point of view. I see now that I begin to draw that it will play a major role in my project. It is time to delve in to how this estate will integrate the two polar programmes, where I can intersect and how this will work technically. I enjoyed my final Jury yesterday for HTS on the the presentation. I am looking forward to applying what I have learned in December Jury.

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AAarchives axos alliteration

collageI spent the day in the archives researching axos from previous years. Above is a collage of axos mainly that I have begun to assemble. These ones are mainly from the 30s. I have a hts submission this week where I will present the method of axos as a form of representation. I am looking at drawing the estate in axonometric to describe both its technical and spatial elements.


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Egoiste – Jean Paul Goud

I have been constructing a garment all day and the learning curve is steep! I have been looking at the behaviours of humans, natural elements and buildings. I have identified behavioural traits of various people throughout history. I am working on the idea of constructed identity through various forms. Each identifiable element on the garment is associated with certain behavioural traits. Collars, Cuff, Lapels, pockets all carry there own stigmas. Each of these elements are designed separately and will be attached to the main body of the garment. Each element added or removed will tell a different narrative.

IMG_2415 (1)Design begins with a small scale miniature toile. This is not the final design but the beginning of the concept.IMG_2420 (1)IMG_2427


These are the windows to the model I am making. I have temporarily placed them on the garment to see how it reacts.

The garment is a caricature in the same style as my drawings. It is oversized and can be worn. I have looked at the work of French designer Jacquemus and American designer Thom Browne.


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Visualisationlvmh-estate-poster-1lvmh-estate-poster-4 lvmh-poster-3new lvmhestate-poster-2

Louis Vuitton, Moet & Hennessy Group are proud to announce their first social housing scheme. Through various charitable ventures LVMH have always been committed to the improvement communities and enriching lives in our cities.

In 1927, 17 architects came together to produce a monumental estate, the Weißenhofsiedlung. They created an environment that complimented the ‘working family’. #LVMHESTATE seeks to employ the same ethics and attention to detail with the goal of improving the lives of those less fortunate.

The estate will incorporate influences from other sources which LVMH have worked with or have been inspired by in the past. Artist such as Yayoi Kusama who has been welcomed in to the LVMH family through numerous and successful collaborations, will be a key influence.

The estate will by no means be a traditional one. LVMH wish to inspire and encourage the residents. The estate will need to respond to the needs of both the tenants and LVMH. The site will be the focus of constant ‘real-life’ campaigns, photo-shoots, fashion shows and events. It is important that the lives embedded within the estate become synonymous with the LVMH brands.

With this in mind we are introducing precedents to inspire and evoke the imagination. The work of architect Mark Fisher will serve as an important influence. The ability to insert events and entertainment in to the estate is crucial.

Large murals and wraps with placement of the LVMH brands should enshrine many of the buildings. The work of Diego Rivera will serve as precedent here.

The contents of the homes will be as important as the homes themselves. The work of Ray and Charles Eames aligns with this concept, where the house is the showroom as well as the home. Furniture and other domestic contents will be designed specifically for the #LVMHESTATE. The products will then be on sale in various LVMH stores.

In order to inspire and enrich the lives of the estate it is important to look at behavioural aspects of others who align with the LVMH brands and inject this concept in to the building fabric. Accompanied with the brief is a fun manual that will serve as a base to inspire and encourage.

Ultimately it is important that the #LVMHEstate does not fade in to the background over time. It is important that the Estate is in constant flux attracting the attention of the media while the lives of the residents continue to flourish and become enriched. This is key to uphold the strong ethical practice that has allowed LVMH to endure and become a global leader.

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3 Behaviours

Eames-Behaviours Corbusier BaterseaDrawing-Behaviours


There are three categories of behaviours in relation to architecture.

1.The Behaviour of Humans

2.The behaviour of Elements

3.The Behaviour of Buildings in their environment.

The belief is that buildings exist only relative to the other factors. The impact of humans and natural phenomena can describe a building, its form and its function.

When analysing historical precedents we can often overlook many external behavioural elements which influence, interfere or describe a certain space, place or time.

Is it possible to isolate the behaviours of individuals and the corresponding natural phenomena at a given time in order to create an architecture that reflects these elements?

It is important to separate the three categories of behaviours outlined above in order to show how the behavioural patterns correspond with each other. Each grain consists of a certain time and place, each with a set of corresponding behaviours.

Behaviours overlap creating a frequency that relates to certain elements. The behavioural elements then create a typology in which form begins to take shape.

As a result architecture could be described in the same way as consciousness is explained; as a continuum of gradual phenomena.

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The World Grows



The grains have expanded. Branched out in to other spaces. The world begins to grow.

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Testing abstraction 2


Frida Leaves for Detroit. Yayoi spots her hospital bed. She likes the ground floor access. Josephine Baker has eyes for Corbusier. The Eames need to leave their two bedroom home. They are outgrowing it. Ray seems to be taking notice of the intern. Nixon/Yayoi fantasy is brewing.

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Identity Construct Machine



Excerpt from the Eames section of the manual I am working on:
Constructed Identity:
When you decide to be a designer, remember you won’t just be designing things you will have to design yourself too. Be precise about everything, commission a costume designer to design the uniform that you will wear everyday, if you are a couple present yourself as a matching set, carefully position yourselves like any other object in the layout of your work.
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House of Obsessive Behaviours



The house of Obsessive behaviours begins to take form. Yayoi is working intensely to get her paintings out. Her obsession of covering all blank space is aided by Corbusier who is busy above white washing her finished work. On the 2 floor Yoyoi is trapped by her own work. Above Corbusier is sculpting, writing and distributing his works.


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Testing Abstraction


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The canvas does not providing enough space, the entire room has to be covered, the ceiling, walls floor, people & furniture. The viewer loses all control and becomes consumed by the art.
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I am putting every effort toward creating my works from morning till night on every single day.
Yayoi Kusama

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Publicly painting polka dots on nude men and woman in central park.

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Yayoi is staying over for a few days.



I have invited Yayoi over to work in my home. She is settled at the the moment and appreciates the distance from bed to work. The drawing above is my small home in Highgate with Yayoi quietly working in the living room.

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Draw a line through thought.






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What does Frida Kahlo and the Eames’s have in Common?

What does Frida Kahlo and the Eames’s have in Common? Apparently sculptor Isamu Noguchi. Both were taken aback by the artist and landscape architect. He joined with George Nelson, Paul László and Charles Eames to produce a catalog containing what is often considered to be the most influential body of modern furniture ever produced, including the iconic Noguchi table which remains in production today. While prior to this Noguchi created a relief mural for the Abelardo Rodriguez market in Mexico City. He met Frida Kahlo during this time and had a brief but passionate affair with her; they remained friends until her death.


Isamu Noguchi & his at the Eames House #8

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Connecting the dots…



The sheer volume of her work almost mimics amount of dots seen throughout her career. Yayoi Kusama submerses herself in her work. There is no line draw between fantasy and reality, art and life.

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The Significance of a Pig



When Pigs Fly…

The adynaton that possible launched a career. 6 years prior to Pink Floyd’s iconic photo shoot of a flying pig in front of Battersea power station, architect Mark Fisher was experimenting with inflatables. During his Diploma studies at the AA Mark explored the possibilities of inflatable architecture. 6 years on, an inflatable pig by the name of Algie escaped from his captures and fled to Kent, halting Heathrow traffic on the way.

After this debacle, Pink Floyd needed a new designer to supply them with numerous inflatable animals for there upcoming tour…’Animals’. They were eventually led to Mark Fisher who not only designed inflatables that remained in position, but would go on to create countless stages for Pink Floyd, Rolling Stones, U2 and many more.

It is most certainly arguable that this flying pig was responsible for the launching of one of the greatest stage architects of all time.


*The original pig was designed by Jeffrey Shaw and Hipgnosis.

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