FORGOT YOUR DETAILS?

Test The final design was, in fact, an upside-down version of modern chandeliers that was also holding the wine cups made from the container team. The final piece was a sculptural centrepiece made out of metal frames, each one representing a more abstracted version of a wine glass, spray-painted in different colour and hanging from the ceiling. Floating Glasses keyboard_arrow_right keyboard_arrow_left Lucy King Arshana Rajaratnam EE_BBQ_19.10_MastersBanquet19 Overview 1 Overview 2 Overview 3 Entree Multifunctional Chopsticks Instrument Floating Vessel Grid Lights Light The pendulum Focal Point Entree 2 Multifunctional Chopsticks Instrument Floating Vessel Grid Lights Light The pendulum Focal Point En_Light The lighting was designed to have the same size as the plate that was sitting below it. In this way, the focus of the diner would be entirely on the food. Grid Light Aleksandra Gutkowska Chung Shu Wing Lauren Polesel keyboard_arrow_right keyboard_arrow_left En_Light 2 As the plate replicated the water and waves, for the lighting the idea was to have a heavy and solid element that would compliment and bring out the lightness of the plate. The spotlight was fabricated out of wood, at its bottom the wood is cut out to create a void dome visible only if you are seated beneath it. The lighting structure is held together using a Japanese knot technique where strings are used instead of glue and nails, making the structure easy to assemble and sustainable. Grid Light keyboard_arrow_right keyboard_arrow_left Aleksandra Gutkowska Chung Shu Wing Lauren Polesel En_Instrument For our instrument design, the idea was to have something that was both elegant and multifunctional. The final piece was an elaboration and manipulation of the Japanese style chopsticks. Multifunctional Chopsticks keyboard_arrow_right keyboard_arrow_left Isaac Read Rishi Mistry En_Instrument 2 The chopsticks, made from wood and metal, incorporated features to make them more universal for users that struggle when using traditional chopsticks. A pronged end was added to be able to use them as a regular fork, a wire wrap gave them accents/detail of individuality and provided strength in areas where they could become weak such as the base of the fork. Multifunctional Chopsticks keyboard_arrow_right keyboard_arrow_left Isaac Read Rishi Mistry En_Vessel The word ‘vessel’ reminds of the waves in the sea and their profile curvatures. The idea was to create a half ‘vessel’ half ‘surface’ hybrid that would look as if it was floating in the air capturing the sense of airlessness and fluidity that permeates the air and sea when they form pockets of spaces in between. Floating keyboard_arrow_right keyboard_arrow_left Tobias Pullen Kai Law En_Vessel 2 The vessel was fabricated using layers of Mod-Roc plaster that provided a strong structure and demonstrated the gentle curves of the framework beneath. A hybrid aesthetic was achieved leaving the framework visible, this one balanced organic curves with contemporary structure. The mod- Roc was also brushed to replicate the Zen gardens of Japan, the textured surface echoed their peaceful nature. Floating keyboard_arrow_right keyboard_arrow_left Tobias Pullen Kai Law En_FocalPoint Focussing on creating an interactive experience between a diner and their course, the focal point allowed the diner to decorate their food with condiments. The Pendulum keyboard_arrow_right keyboard_arrow_left Tobias Pullen Owen Nagy En_FocalPoint 2 After studying precedents, a framework was designed and made that would allow a container to dispense sauce over a plate. The concept was to create a pendulum that could distribute balsamic vinegar across the food below. Alongside the pendulum, stencils were created to create fluid designs of pepper and chilli when garnishing the surface. The pendulum was made from laser-cut forescolor and suspended from a welded metal frame held on a wooden base. The Pendulum keyboard_arrow_right keyboard_arrow_left Tobias Pullen Owen Nagy Amuse-Bouche Breaks at Sea Container The spoon Instrument Seashells Vessel Waves Surface Little Birdies Light Amuse-Bouche 2 Breaks at Sea Container The spoon Instrument Seashells Vessel Waves Surface Little Birdies Light AB_Light The lighting design started with the idea of something lightweight that would complement the strong forms of the table. Considering the different elements of the table, and the idea of a seascape, this picture was just missing grey clouds and flying seagulls. Little birdies keyboard_arrow_right keyboard_arrow_left Nikhil Berwal Virosh Samuel AB_Light 2 The Seagulls shape was made out of tracing paper using a traditional Origami technique. Each bird had also an LED light attached. The clouds were designed and crafted in the metal workshop using steel, their abstract shape represented the sky in which seagulls were flying. Little birdies keyboard_arrow_right keyboard_arrow_left Nikhil Berwal Virosh Samuel AB_Instrument For the instrument, the idea was to create a spoon design similar to the Bauhaus style. The spoon was fabricated using aluminium and plywood. THE spoon keyboard_arrow_right keyboard_arrow_left Simon Munashe Dendere Aleksandrs Manza AB_Container The container was made taking into consideration the palate cleanser aspect of the Amuse-Bouche. Watermelon provides a refreshing bite between courses, and an effective palette cleanser, therefore appropriate for this. A Ferris wheel supported the containers of the Amuse-Bouche shaped like an ice cream cone. Using a melon baller the watermelon was scooped into the cones to create the impression of ice cream. Breaks at sea keyboard_arrow_right keyboard_arrow_left Isabel Briggs Anissa Colaco Souza AB_Container 2 The clear cones effectively ensure that the watermelon was also visible. After its consumption, since the wheel would sit within the wooden wave structure made by another team, the empty container could be disposed in a holder integrated within the surface part of the table. Breaks at sea keyboard_arrow_right keyboard_arrow_left Isabel Briggs Anissa Colaco Souza AB_Surface For the Amuse-Bouche table, the theme was the sea-side. For the surface, the seascape was recreated by cutting strips of plywood and bending them into wavy patterns. When they were placed together they resembled sea waves. Waves keyboard_arrow_right keyboard_arrow_left Ceri Baxter Zainab Khan AB_Surface 2 The choice of a rigid material, such as plywood, was driven by the need to have a firm and stable base for other elements to be placed on. Waves keyboard_arrow_right keyboard_arrow_left Ceri Baxter Zainab Khan AB_Vessel The vessel was inspired by the shape of seashells. Several examples of mussel shells, scallops and oysters, were bought at the London Borough market. To generate an interesting object, the shell's shape was analysed and manipulated. The final pieces for the banquet became a celebration of the creative process, involving all of the elements, from the original seashells, scattered over the table along with the rest of the produced objects. Seashells keyboard_arrow_right keyboard_arrow_left Connie Latham Bryn Alexander Reynolds AB_Vessel 2 Each object then arose out of the table, originally displaying the plaster casts made to analyse the form of each shell, then right at the top of the stand, the final vessel. Each vessel showed a different manipulation of the original shell, the scallop became a contoured laser cut clear acrylic stretched out using a 3d scan. The mussel, a distorted 3D print of one shell and the oyster a wooden replica of the largest shell. Seashells keyboard_arrow_right keyboard_arrow_left Connie Latham Bryn Alexander Reynolds Hours d'ouvre Interacting with the Table Instrument The Ultimate Munchie Maker Vessel The Olive Game Surface Theme Park Light Hours d'ouvre 2 Interacting with the Table Instrument The Ultimate Munchie Maker Vessel The Olive Game Surface Theme Park Light HO_Instrument The function of the instrument was to facilitate the movement of the Hors d’oeuvre from each station of the banquet table. The concept was to induce social interaction between the guests. This was accomplished by making the instruments so long that guests would be unable to serve themselves. Each guest had to serve their opposite neighbours. Interacting with the Table keyboard_arrow_right keyboard_arrow_left Callum Bleasdale Laura Kershaw HO_Instrument 2 Two instruments, accompanied by a decorative stand, were produced: A spatula for scooping the biscuit up, allowing its movement between the various stations and a skewer to impale the olives. Interacting with the Table keyboard_arrow_right keyboard_arrow_left Callum Bleasdale Laura Kershaw HO_Surface The Olive Game project aims to move an olive through the game. This one represents the garnish for the Hors d’oeuvres. To win, the player has to twist the handles to either balance the olive over the fins or spin it through the hoops. When it reaches the other side of the game, it is speared with a toothpick and placed on top of the Hors d’ oeuvres that needs to be garnished. The Olive Game keyboard_arrow_right keyboard_arrow_left Sophie Guneratne Helen Windsor HO_Surface 2 The circular hoops were made by cutting a metal sheet into several strips of varying lengths which were then bent with the Roller machine to create their circular shape. The wooden wave fins were created using the laser cutting machine and tied together with fishing wire. The Olive Game keyboard_arrow_right keyboard_arrow_left Sophie Guneratne Helen Windsor HO_Vessel A vessel is a way of transporting something from its origin to its destination. For the Hors d’ oeuvre the vessel was both a means of transportation and assemblage of the ham and cheese cracker starter. The aim of the munchie maker was to transport the plain cracker through different stages.
The idea was to detach the user from actually touching anything with their hands, made possible with the use of tracks and openings. The total time to make the ham and cheese cracker was 2 minutes. The Ultimate Munchie Maker Alexandros Tzortzis Joshua Spitter HO_Light The idea was to create a fun and colourful lighting element that would give a vibrant atmosphere to the table. For the initial prototypes, materials such as metals, wood, fabrics and acrylic were tested to understand better their reflective properties.
The final prototype was composed of acrylic rods attached to a plywood base with a DMX light placed at the back. To filter the light a piece of black fabric covered the front. Theme Park Savannah Williams Trixie Bedwei-Majdou Soup Mies-o-soup Container Spoonstick Instrument The Soup Vessel Vessel Ramps Surface Soup 2 Mies-o-soup Container Spoonstick Instrument The Soup Vessel Vessel Ramps Surface SP_Surface The idea for the soup table was to connect all the elements and create a single proposal. The concept was to transport the soup from a high point to a low point. To do so a series of bowls connected by ramps were placed at different heights. These ones were made out of plywood and connected the soup bowls and allowing it to flow from. Ramps Hasan Jamshed Almudena Tesorero Garcia SP_Container The container was made out of plaster bowls. Their shape resembled the organic shape of the ‘dripping tofu’ effect. Mies-o-soup keyboard_arrow_right keyboard_arrow_left Shahriar Doha Sheikh Tanim Ahmed SP_Container 2 The moulds were made out of plywood and polyurethane foam then tested with the vacuum forming machine. For the final prototype, the plaster bowls were screwed into plywood platforms and hanged in the focal point frame. Mies-o-soup keyboard_arrow_right keyboard_arrow_left Shahriar Doha Sheikh Tanim Ahmed SP_Instrument As a group, we decided to serve Miso soup so the instrument role was to create a serving utensil for it. This soup is traditionally eaten with chopsticks thus the ladle design needed then to incorporate them. The final piece consisted of a 3D printed spoon with a braided metal handle that held the ladle and the laser-cut chopsticks together. Six shape variations were 3D printed with an handle back support for the chopsticks. When these ones are removed the stability of the spoon is not affected, allowing the user to drink the broth using the spoon and eat the content using the chopsticks. Spoonstick April Glasby Raluca Rimboaca SP_Vessel The layered structure resembles the shape of the human intestine. For the model, cubical frames were positioned one on top of the other creating a semi-permeable structure, to make it waterproof a vacuum formed acrylic inset was added. The Soup Vessel Andreas Makris Gurpal Kular Salad Layer by Layer Container Automated Future Instrument Tentacles Vessel Folding Lights Light Salad 2 Layer by Layer Container Automated Future Instrument Tentacles Vessel Folding Lights Light SD_Container A salad consists of many different ingredients that come together to create one whole piece. Layer by Layer keyboard_arrow_right keyboard_arrow_left Rojda Aslan Varsha Raji SD_Container 2 For the container model, the process of making a salad has been broken into steps and the design and fabrication of the container vary according to each step which is adding an ingredient to the salad. Layer by Layer keyboard_arrow_right keyboard_arrow_left Rojda Aslan Varsha Raji SD_Instrument The instrument, for the salad table, was inspired by the automated mass production processes that vertical farms adopt nowadays. The overall piece leads to an automation of food production allowing the user to regain control of the way this one is served. It also eliminates the potential of human contamination, making a statement of cleanliness that is at the forefront of any established kitchen and restaurant. Automated Future keyboard_arrow_right keyboard_arrow_left Thomas Burbery Finlay Johnson SD_Instrument 2 A crane powered by a hydraulic system was used to lift the salad leaves and drop them on the guest plates before they chose their toppings. This allowed for a hygienic method of serving the salad, whilst also creating a dramatic and interactive dining experience. The crane was both a reminder of the industrial process of salad cultivation and an imitation of picking the it directly from the ground. Automated Future keyboard_arrow_right keyboard_arrow_left Thomas Burbery Finlay Johnson SD_Vessel The idea for the vessel was to make a tool shaped like a robotic sea creature that will facilitate the serving of the salad. Tentacles keyboard_arrow_right keyboard_arrow_left Kiesse Andre Jacky Yomi SD_Vessel 2 The bowls resembled the tentacles of the jellyfish, each bowl had a round base and several tentacles. Each one of these was broken into segment, allowing the bowl to change shape whilst imitating the movement of the jellyfish. Tentacles keyboard_arrow_right keyboard_arrow_left Kiesse Andre Jacky Yomi SD_Light For the lighting, the idea was to make the light as flexible as possible to control the illumination area. Have a linear light with two hinges on both sides allowed for the desired flexibility. Folding Lights keyboard_arrow_right keyboard_arrow_left Shing Ma Kangli Zheng SD_Light 2 The main body was made with two CLT panels on both sides and a thicker panel in the middle, leaving a
gap to place LED lights. Folding Lights keyboard_arrow_right keyboard_arrow_left Shing Ma Kangli Zheng Fish Fish scales Surface Organic Cups Container The Allegory of the Long Chopstick Instrument Tea Ceremony Vessel The Net Light The Jellyfish Focal Point Fish 2 Fish scales Surface Organic Cups Container The Allegory of the Long Chopstick Instrument Tea Ceremony Vessel The Net Light The Jellyfish Focal Point FS_Surface The main idea for the surface of the sushi was to experiment with fish scales and patterns. To do so, we cut strips of different materials and bent them to create a curve that resembled fish scales. For the materials, steel, copper and timber were used, allowing to have a more dynamic table thanks to their variety of colours and textures. Fish scales keyboard_arrow_right keyboard_arrow_left Gemma Mohajer Gergana Georgieva FS_Surface 2 At the banquet, the sushi sat on top of the scales acting like plates while their repetitive curved pattern created a waved effect. Fish scales keyboard_arrow_right keyboard_arrow_left Gemma Mohajer Gergana Georgieva FS_Container The idea for the container was to work with organic shapes using a minimalistic approach. Organic cups keyboard_arrow_right keyboard_arrow_left Christina Gelagotellis FS_Container 2 The cups and plate were made using wood while the stand was made with plaster. Organic cups keyboard_arrow_right keyboard_arrow_left Christina Gelagotellis FS_Instrument The eating utensil design was inspired by the traditional cutlery used in Japanese culture: the chopstick. The simplicity and materiality of this instrument were the main drivers of the project. The aim was to create a multi-use chopstick that could retain the beauty of the traditional shape whilst giving more manoeuvrability to it. The initial idea was to design extra-long chopsticks and split them in half with Japanese joinery. Each chopstick could then be used separately. The Allegory of the Long Chopstick keyboard_arrow_right keyboard_arrow_left Shayan Gamouri Neguine Boumedine FS_Instrument 2 The extended nature of the chopstick made it difficult t handle. Thus a sauce dispenser was attached to enable the receiver of the food to add the sauce with ease. On one end, the chopstick also had the functionality of a spoon made by a sheet of copper folded using origami techniques. The reflective qualities of copper provided an aesthetically pleasing visual. The Allegory of the Long Chopstick keyboard_arrow_right keyboard_arrow_left Shayan Gamouri Neguine Boumedine FS_Vessel The vessel design aimed to allude to a fishing rod, particularly the mechanisms associated with it. By using Japanese traditions as a design driver, the tea ceremony played an important role. This one is a choreographic ritual of preparing and serving tea. The vessel needed to emulate this theatrical element for the Banquet night. The concept was to create a vertical fishing rod structure that, through a turning mechanism, would dispense a tea bag in and out of the cup, imitating the theatrical sense of the tea ceremony. Tea ceremony Makbule Karadag William Lawton FS_FocalPoint Ebisu, one of the seven Japanese lucky Gods, is frequently pictured in sushi houses and places of commerce as it is believed that he provides luck and good fortune. Ebisu was a son of the Shinto gods, born with no bones and cast out to sea by his parents. One day he luckily floated back to shore and was taken in by a stranger until his bones grew then he became a fisherman. Due to this journey, he is often linked to a jellyfish. The jellyfish’s bold colours, movement and connotations to this story made it a perfect subject of choice for the focal point. With its neon colours, it also represents modern Japan and Tokyo the city of light and the birthplace of modern sushi. The Jellyfish keyboard_arrow_right keyboard_arrow_left Joshua Shield Daniel Atkinson FS_FoclPoint 2 For the model, the Jellyfish body was created using a wood and clay mould, which was then vacuum formed, using HIPS which proved successful. Then it was painted using UV pigments mixed with paint. UV pigments were chosen because they get charged by UV light and retain their glow for a while after. The tentacles were made using lightweight fabrics and an Arduino board connected to a stepper motor that allowed the jellyfish to bob up and down. The Jellyfish keyboard_arrow_right keyboard_arrow_left Joshua Shield Daniel Atkinson FS_Light The lighting installation was inspired by Janet Echelman’s net sculpture, where the net is illuminated by itself and the shape is changing with the movement of the wind. Under the calculation by the computational tool in Grasshopper, the team decided the numbers of netting knots and distance for our lighting device. Small scale experiments of various types were done to test the material flexibility, strength, quality, and shadow effect. Through these studies, the variations of the knotting method were also tested.
The light element was added using green-wired fairy lights, which aimed to resemble seaweed found from beaches and usually caught on nets during fishing. The Net Wan Wong Kin Leung Sweet Deceiving the Guest Container Scent + Taste Instrument Channeling the Sauce Vessel Filtering Appearance Light Sweet 2 Deceiving the Guest Container Scent + Taste Instrument Channeling the Sauce Vessel Filtering Appearance Light SW_Light Within the overall theme of deception, the lighting design focused on the idea that the sweet itself would appear differently than the reality. The initial concept was to use coloured lighting to make the Panna Cotta appear different. A chandelier model, filtering the light through a lens made out of boiled sweet, generated a fake appearance of a flavoured and irresistibly tasty dessert that would deceive the guest until he would get a spoonful of Panna Cotta and see its actual plain white colour. Filtering Appearance keyboard_arrow_right keyboard_arrow_left Rebecca Gardner Andrea Antoniou SW_Light 2 The target of the final piece was to deliver a message: we need to pay attention to the true elements of things, such as the actual taste of food, rather than the overall appearance of them. Filtering Appearance keyboard_arrow_right keyboard_arrow_left Rebecca Gardner Andrea Antoniou SW_Light 3 The final piece consisted of two chandeliers and three spotlights connected through a metal rod. Each chandelier had a Phone holder where the guest would put his phone with the flash on. The chandelier was interactive as the visitors could put on their phones, see the results, their phones back and leave the spot for the next visitor. The constant movement of flashing lights developed exactly the atmosphere that the sweet table was aiming to achieve. Filtering Appearance keyboard_arrow_right keyboard_arrow_left Rebecca Gardner Andrea Antoniou SW_Instrument It is said that 80% of the taste and flavours experienced when consuming food and drinks is influenced by the smell. The element of aroma can determine how people interact with flavours.
Focusing on this concept the instrument was going to include a scent block. This feature would help to link the spoon back to the overall theme of deception, achieved by pairing a particular scent with a plain bland Panna Cotta; you think you’re getting lemon when there is no taste at all. The same idea was consistent also for the spoon shape and mouthpiece, which had a rectangular-shaped end resembling almost a knife. Scent + Taste Maria Garvey, Denise Carcangiu SW_Container We live in a world of illusion, people hover over their plates, iPhones in hand, more interested in what their food looks like than what it tastes like. Considering this, the concept of deception was the theme for the table. Each team created something that may mislead the guests. Deceiving the Guest keyboard_arrow_right keyboard_arrow_left Hayley Garnham Sharay Campbell SW_Container 2 The main structure of the surface element, where the Panna Cotta would sit, was made out of plywood. Only the top of each piece was painted white, like a blank canvas. This represented the method of taking photos from above which is seen constantly on social media. You don’t see the way things really are because it’s through the lens, it is only when you go down to eye level you are exposed to the reality of their design. Deceiving the Guest keyboard_arrow_right keyboard_arrow_left Hayley Garnham Sharay Campbell SW_Vessel The vessel element was responsible for garnishing the Panna Cotta with the sauce. The aim was to create a device that made the act of garnish performative and playful. Channeling the Sauce keyboard_arrow_right keyboard_arrow_left William Rowe Laura Walton SW_Vessel 2 The sauce dispenser was made out of metal sheets attached to a mechanical wooden frame operated by the diner. This one would pour the sauce from the vessel down a channel and onto the dessert. Channeling the Sauce keyboard_arrow_right keyboard_arrow_left William Rowe Laura Walton Cheese The Pendant Light Extras Container Cheese Disco Instrument Fondue Vessel The Cheese Greater Focal Point
Filling the Gaps Surface Cheese 2 The Pendant Light Extras Container Cheese Disco Instrument Fondue Vessel The Cheese Greater Focal Point
Filling the Gaps Surface C_Container The aim of the container element was to accommodate the cheese extras such as crackers, bread sticks, grapes, chutney and cold meats. To ensure that every extra was correctly displayed, specific containers were designed for each type of food. The food was placed at eye level, highlighting the ease of collecting each accompaniment for your cheese board as you went around the table. Extras keyboard_arrow_right keyboard_arrow_left Elizabeth Terry Hannah Pinsent C_Container 2 The final product’s height without the food element, was the same for each container making them comfortable and easy for the user. Extras keyboard_arrow_right keyboard_arrow_left Elizabeth Terry Hannah Pinsent C_Instrument The idea for the instrument was to create a simple but strong and funky symbol of cheese. The installation consisted of a little guitar man holding a cheese guitar and a giant disco ball spinning above the guitarist stage. Cheese Disco keyboard_arrow_right keyboard_arrow_left Jamie Williams Seungmin Lee C_Instrument 2 From the disco ball, diagonal lights were projected into the cheese plates surrounding the main stage. Ideally, if using warm lights the cheese would melt down into the bread plate below and the guitarist would perform under a cheese rain. Cheese Disco keyboard_arrow_right keyboard_arrow_left Jamie Williams Seungmin Lee C_Surface The revolving cheese stand represented the knowledge that is gained by students when studying architecture. Each tier had a different size depending on the year of study and was layered to show the knowledge building up over the years. The University of Westminster logo gave the shape to the layers. The holes in the logo design changed size according to the layer height decreasing on each layer. They were wider at the bottom, symbolising the gaps in student’s knowledge and smaller at the top as students will learn more each passing year. Filling the gaps Leila Khadem Sarah Al Abed C_Vessel The cheese was the penultimate course of the evening. Hypothetically speaking, guests would have already socialised and build up relationships. Considering this, it was important that the vessel was easily portable and did not restrict the guests who wanted to continue socialising. Fondue keyboard_arrow_right keyboard_arrow_left Anthony Saynor Eliza Hague C_Vessel 2 The design idea was to have a heatable metal cheese bowl to make fondue with integrated dipping sticks. The process resulted in five individual hand-held vessels with acrylic stands. The vessel acted both as a cheese container and, when arranged on a table, as a sculptural piece. Fondue keyboard_arrow_right keyboard_arrow_left Anthony Saynor Eliza Hague C_FocalPoint The cheese-making process has become more automated in the modern age but it still requires physical human effort. Similar to it is the cheese consumption process, where the form is sliced, grated or melted before being carefully paired with another food. The Cheese Greater keyboard_arrow_right keyboard_arrow_left James Mason Zhivka Ivanova C_FocalPoint 2 Developing a mechanical cheese grater came from brainstorming the process of cheese production and consumption, where the grating of cheese became the focal point rather than a beautified object. The design still required some human interaction to turn on the gears, but it utilised basic osculation to move the cheese grater in a horizontal motion. A linear actuator achieved the desired automation, completely detaching the need for human interaction and allowing the piece to function more as a focal point (visual presence rather than physical). The Cheese Greater keyboard_arrow_right keyboard_arrow_left James Mason Zhivka Ivanova C_Light The idea of reflecting light down to the table or around the room was very prevalent throughout the ideas stage as we imagined this would give a warm and subtle diffuse light to the table. The concept was to have a light that portrayed the softness of cheese. The light was reflected using a wide dish covered with gold. The Pendant keyboard_arrow_right keyboard_arrow_left Daryl Dlodlo Wes Stone C_Light 2 To complement the lighting, cheese grater lanterns were also added to the table. These were fabricated from metal sheets with drilled holes. Once the holes were de-burred the sheets were filed down and bent using the magnetic pan folder. This created several squares that were then welded together with rods to create lanterns that would house candles. The Pendant keyboard_arrow_right keyboard_arrow_left Daryl Dlodlo Wes Stone Wine Floating Wine Container Wine Prints Surface Wine Mixer Vessel Floating Glasses Focal Point
 Wine 2 Floating Wine Container Wine Prints Surface Wine Mixer Vessel Floating Glasses Focal Point
 W_Surface When looked at the microscope, wine has a beautiful irregular honeycomb pattern. For the surface component, the idea was to replicate this pattern into a series of paper and wooden blocks, using wine as a printing material. The staining process was made by covering each block with a stencil and painting over it directly with the wine. Wine Prints Nikola Wolkova Lorena Loureiro W_Container For the container element, the installation consisted of a series of cups forming a mountain. The mountain resembled the artistic atmosphere in traditional Chinese landscape painting. The Pendant keyboard_arrow_right keyboard_arrow_left Renzhi Zeng Linggezi Man W_Container 2 Considering that the container needed to be water-tight, the selection of material was narrowed to vacuum foamed PET-g thermoplastic, used for the container and steel rods, used for the hanging system. The Pendant keyboard_arrow_right keyboard_arrow_left Renzhi Zeng Linggezi Man W_Vessel Since the prehistoric ages, in Greece wine was present in the everyday life. Greeks used it to complement nutrition, as part of religion and for pure pleasure. The wine was a part of their religion as they used to devote and make sacrifices to the name of God Dionysus, the God of the wine and the entertainment. They used to organise dinners (symposiums) where everyone would eat and drink wine and to be able to drink more without affecting their mood and entertainment they also used to mix wine with water.
Taking inspiration from Greece, the vessel component consisted of two plaster recipients connected with pipes, one for wine and one for water. Aside from entertaining guests, the system allowed to transmute water into wine without mixing the two liquids in the recipients. Wine Mixer Anastasia Tsamitrou Olga Smoili W_FocalPoint The initial idea that came to mind was to have something grand that stands out on the table, something that could hang from the ceiling like a chandelier. Floating Glasses keyboard_arrow_right keyboard_arrow_left Lucy King Arshana Rajaratnam W_FocalPoint 2 The final design was, in fact, an upside-down version of modern chandeliers that was also holding the wine cups made from the container team. The final piece was a sculptural centrepiece made out of metal frames, each one representing a more abstracted version of a wine glass, spray-painted in different colour and hanging from the ceiling. Floating Glasses keyboard_arrow_right keyboard_arrow_left Lucy King Arshana Rajaratnam Are you sure you want to leave? Yes, I'm sure No, take me back
 restaurant_menu restaurant_menu
TOP