Memorial Garden II
Weeks have elapsed since the initiation of the ‘Memorial Garden’ project, during which time our group engaged in a tutorial session. In this session, I presented my preliminary design concepts to both the tutor and my peers. This dialogue proved to be immensely beneficial; I received insightful feedback from the tutor and learned from the proposals of other group members, both of which have significantly informed my design’s next stages.
Sketch
Prior to this tutorial, I had been cultivating various design ideas centred around the theme of organ donation. I identified two symbolic elements—light and wings—as potential cornerstones for my design. These symbols recur throughout human history, universally recognized for their positive connotations. For instance, the ancient Greek statue of The Winged Nike symbolizes victory, while the sun god Ra in ancient Egyptian mythology is believed to bless people with his life-giving rays. These symbols, albeit abstract and seemingly detached from organ donation, are integral to my design intent. My aim is not to create an overtly literal representation that might render the project superficial; rather, I seek to provoke deep reflection on the profound themes of life and death. I believe that a space that encourages serious contemplation, rather than one resembling a leisurely park, will more effectively honour organ donors and highlight the urgent need for organ donations in the UK.
Winged Victory of Samothrace
Stele of Lady Taperet
With these foundational objectives in mind, I embarked on the creation of physical models to explore their composition and proportions. Initially unconcerned with material selection, I opted for those that were more readily workable. The first model, crafted from paper, featured two intersecting cylinders reminiscent of searchlight beams. The second, constructed from wood, simplified this form into a single cylinder, aiming for a more monument-like appearance. However, challenges arose with the third model—a pair of metal wings. The complexity of their design exceeded the capabilities of the workshop tools and my own skills. Consequently, these models did not meet my expectations in terms of design outcome. Moving forward, I plan to experiment with cement for the next model, aiming for an improved visual and symbolic representation.
Paper model
Wooden model
In the metal workshop
The choice of cement introduces another layer to the ‘Memorial Garden’ project: the application of brutalist aesthetics within a contemporary context. This has led to a critical examination of what constitutes ‘contemporary brutalism’. My designs so far either mimic traditional brutalist works of the ’60s or diverge entirely from brutalist principles, prompting me to question the essence of brutalism today. Can a work utilizing a new type of concrete be classified as brutalist? Is a design that deviates from modernism, futurism, and constructivism still within the brutalist domain? These questions remain unresolved, but I am hopeful that continued exploration and practice will lead to clarity.
