Day 5 (19/05/2015) - We decided to allocate a few vertical windows along the cladded walls and corners to crate sharp natural light effects inside the art space similar to the one created by the skylight in the corner of the Merz barn. The test model helped us to understand how this idea would interact with the mezzanine and the double volume exhibition space.

Day 4 (18/05/2015) - A test model by Frederic W. of the locally sourced, woven timber cladding on the facade of the shed. We feel like its effect will fit in with the rural surroundings of the site

Day 5 (19/05/2015) - Ian Hunter visited us this afternoon to have a look at the visuals we proposed for his site. He seemed happy with the ideas we presented and commented that we challenged his visions to create much more interesting architectural pieces than he initially anticipated. He appreciated the motives we came up with to bring the narrative of Kurt Schwitters and spatial quality to the buildings.

Day 3 (13.05.2015) - After dividing ourselves into 3 subgroups we started brainstorming our ideas and began to do initial visuals through quick sketches and diagrams. It was important to consider the context of the rural environment as well as the materiality of the installations so that we can then develop coherent renders which convey atmosphere next week.

Day 3 (13.05.2015) - Today we gathered all of our thoughts together on where we want to go with the project. I decided to read a bit more about the Merz works of Kurt Schwitters to make sure that the legacy of the artist was visible in our ideas, as the client seemed keen on keeping the history as the narrative throughout the 3 new installations. It is clear that Schwitters was a pioneer in making use of found objects and everyday materials in abstract collages. I feel like this should be translated in our building through the use of locally soured materials, typical to the site to keep the rural theme.

Day 2 (12.05.2015) – While at site we met Ian Hunter, an artist and the current owner of the Merz Barn which has suffered from long neglect after Schwitters’ death. He is working closely with the Littoral Trust and has gained funds for the restoration of the Merz Barn and the development of 3 new installations next to the associated farm buildings on site. Ian explained the visions and ideologies he has of the new developments and what sort of materials and budget he has to work with. He then asked us to come up with the visuals for his ideas which we will start to develop over the next few days. For many of us it was the first opportunity to see what it is to work with a real life ‘client’ and how to create the compromise between their needs and expectations as well as effectively ask questions.

Day 2 (12.05.2015) – An early start for group 14. We took the 7:45am train to Windermere in Lake District to visit the Merz Barn where the famous Kurt Schwitters worked on what was to be his last and only Merzbau in Britain. It was important to see how artists such as Schwitters, fled from the political regime of the Nazis,and influenced post-war architecture through their works, which could be realised in countries such as America or England. The historical context of the site will definitely be one of the most important factors in this project.