Project
Interior Architecture and Design
Undergraduate
Project
Jessica Fisher
No Parking
Interior Architecture and Design
Undergraduate
A Theatre for Craft – Looking In
Street level perspective looking into the ‘Theatre for craft’. The addition of Austrian curtains aims to theatricise the crafts taking place in the space whilst also contriving a sense of mystery, that would attract attention.
Jessica Fisher
No Parking

No Parking is a theatre for craft. Heavily inspired by the Enlightenment period and imagery from this time, Jessica Fisher‘s design draws on the idea of openness and creating spaces that act as a spectacle for the craft. The space emphasises the practices of observation, reflection, and dismantling in an attempt to establish a re-appraisal of how designers, architects, artisans, and makers as a whole interact and consider materiality. The space is designed to host master craftspeople and give them the facilities to create. From this, young designers, students, and beginners in their respective fields would be invited to use the space as a place to work and experiment through the development of 1:1 prototypes and through a considered, deliberate dismantling of the building framework.

The project concept focuses on ‘The Abandoned Vernacular of Sheffield’ which relates to the numerous abandoned buildings and standalone facades that populate the city of Sheffield. There is a lack of commitment to wanting to adapt these spaces according to new methods of inhabitation and implementation of developing material technologies. Through the project, Fisher worked toward dismantling these stigmas attached to such buildings and their seeming ‘unsuitability’ for modern-day application. Much of Fisher’s design inspiration was taken from theatre set design with regards to layering elements to manipulate perspective, opening up these spaces and framing the activities within.

 A large part of the project development involved Fisher experimenting and exploring the potential of waste materials on a 1:1 scale. From development through to final outputs, there was a consistent refinement of material composition and a growing interest in how to implement construction ‘waste’ into the fabrication of the project.

A Theatre for Craft - Front Facade
Elevation of the ‘Theatre for craft’. This image reflects Fisher’s attempt to fabricate what resembles a Neo-classical facade using ‘waste’ materials in order to reflect the potential of materials outside their existing framework and also show the adaptability and potential of forms such as these.
A Heightened Perspective
Perspective looking into the extension from the Interior. The extension drew inspiration from the standalone facades of Sheffield. It also takes inspiration from the renaissance workshop practices of inhabiting the space being maintained. There is a lot to be gained from the act of inhabitation - it allows for material relationships to be formed with the space you are preserving, maintaining or developing through explorational material intervention.
A Theatre for Craft - Looking In
Street level perspective looking into the ‘Theatre for craft’. The addition of Austrian curtains aims to theatricise the crafts taking place in the space whilst also contriving a sense of mystery, that would attract attention.
An Ambiguous Perspective
Interventions into the original framework of the building. Such interventions frame artisans in unique ways that allow for a break down in techniques and processes. Breaking down the different elements of practices allows not only for a more profound understanding to be established but also for a more unique interpretation to develop and evolve.
Cast Form - Building Waste
Final 1:1 cast form of a small section of the Intervention. Made from old broken pieces of plaster, broken pieces of mortar, brick dust, Cotswold sand, remains and leftovers from failed student projects, aggregate, construction sand and cement to bind.
Cast Form - Building Waste
Detail of the final 1:1 cast form of a small section of the Intervention. It highlights the material composition of the form and the intricacies of the tactility of the surface.
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