Brown Office

Event: London Design Festival
Location: Brompton Design District
Curation: Jane Withers Studio
Date: September 2021
Studio Photography: Brown Office
Exhibition Photography: Andy Stagg

For the occasion of London Design Festival 2021 Brown Office were invited by Jane Withers Studio to take part in Brompton Design Districts curated programme ‘From Here Onwards’.

In response to the theme Brown Office conceived of ‘New Adventures in Cardboard’ as part exhibition and part maker space to explore the potential of repurposing waste cardboard packaging - an omnipresent material, especially so during lockdown. Over the course of the festival in a disused garage in Thurloe Place Mews, Brown Office founder Dean Brown designed, made and exhibited a collection of cardboard objects and furniture to highlight the creative potential of remaking rather than only recycling cardboard.

Using simple tools and methods discarded shoe boxes, pizza boxes, poster tubes and delivery cartons were transformed into lighting products, clocks, fans, side tables, kinetic sculptures and a portrait of Dean’s cat Cinnamon who is a cardboard fanatic. All of the pieces were made using cardboard amassed from home deliveries or salvaged from the streets of Hackney.

As a raw material, cardboard can be sourced locally and worked without specialist equipment. It is inherently sturdy, malleable, repairable, and lends itself to transformative surface treatment. As a versatile container it is particularly interesting when used to house electronics.

In summary cardboard is associated mainly with throwaway packaging and it needn’t be. Re-imagining what’s on our doorstep can point to a less wasteful future.

Event: London Design Festival
Location: Brompton Design District
Curation: Jane Withers Studio
Date: September 2021
Studio Photography: Brown Office
Exhibition Photography: Andy Stagg

For the occasion of London Design Festival 2021 Brown Office were invited by Jane Withers Studio to take part in Brompton Design Districts curated programme ‘From Here Onwards’.

In response to the theme Brown Office conceived of ‘New Adventures in Cardboard’ as part exhibition and part maker space to explore the potential of repurposing waste cardboard packaging - an omnipresent material, especially so during lockdown. Over the course of the festival in a disused garage in Thurloe Place Mews, Brown Office founder Dean Brown designed, made and exhibited a collection of cardboard objects and furniture to highlight the creative potential of remaking rather than only recycling cardboard.

Using simple tools and methods discarded shoe boxes, pizza boxes, poster tubes and delivery cartons were transformed into lighting products, clocks, fans, side tables, kinetic sculptures and a portrait of Dean’s cat Cinnamon who is a cardboard fanatic. All of the pieces were made using cardboard amassed from home deliveries or salvaged from the streets of Hackney.

As a raw material, cardboard can be sourced locally and worked without specialist equipment. It is inherently sturdy, malleable, repairable, and lends itself to transformative surface treatment. As a versatile container it is particularly interesting when used to house electronics.

In summary cardboard is associated mainly with throwaway packaging and it needn’t be. Re-imagining what’s on our doorstep can point to a less wasteful future.

Event: London Design Festival
Location: Brompton Design District
Curation: Jane Withers Studio
Date: September 2021
Studio Photography: Brown Office
Exhibition Photography: Andy Stagg

For the occasion of London Design Festival 2021 Brown Office were invited by Jane Withers Studio to take part in Brompton Design Districts curated programme ‘From Here Onwards’.

In response to the theme Brown Office conceived of ‘New Adventures in Cardboard’ as part exhibition and part maker space to explore the potential of repurposing waste cardboard packaging - an omnipresent material, especially so during lockdown. Over the course of the festival in a disused garage in Thurloe Place Mews, Brown Office founder Dean Brown designed, made and exhibited a collection of cardboard objects and furniture to highlight the creative potential of remaking rather than only recycling cardboard.

Using simple tools and methods discarded shoe boxes, pizza boxes, poster tubes and delivery cartons were transformed into lighting products, clocks, fans, side tables, kinetic sculptures and a portrait of Dean’s cat Cinnamon who is a cardboard fanatic. All of the pieces were made using cardboard amassed from home deliveries or salvaged from the streets of Hackney.

As a raw material, cardboard can be sourced locally and worked without specialist equipment. It is inherently sturdy, malleable, repairable, and lends itself to transformative surface treatment. As a versatile container it is particularly interesting when used to house electronics.

In summary cardboard is associated mainly with throwaway packaging and it needn’t be. Re-imagining what’s on our doorstep can point to a less wasteful future.

Event: London Design Festival
Location: Brompton Design District
Curation: Jane Withers Studio
Date: September 2021
Studio Photography: Brown Office
Exhibition Photography: Andy Stagg

For the occasion of London Design Festival 2021 Brown Office were invited by Jane Withers Studio to take part in Brompton Design Districts curated programme ‘From Here Onwards’.

In response to the theme Brown Office conceived of ‘New Adventures in Cardboard’ as part exhibition and part maker space to explore the potential of repurposing waste cardboard packaging - an omnipresent material, especially so during lockdown. Over the course of the festival in a disused garage in Thurloe Place Mews, Brown Office founder Dean Brown designed, made and exhibited a collection of cardboard objects and furniture to highlight the creative potential of remaking rather than only recycling cardboard.

Using simple tools and methods discarded shoe boxes, pizza boxes, poster tubes and delivery cartons were transformed into lighting products, clocks, fans, side tables, kinetic sculptures and a portrait of Dean’s cat Cinnamon who is a cardboard fanatic. All of the pieces were made using cardboard amassed from home deliveries or salvaged from the streets of Hackney.

As a raw material, cardboard can be sourced locally and worked without specialist equipment. It is inherently sturdy, malleable, repairable, and lends itself to transformative surface treatment. As a versatile container it is particularly interesting when used to house electronics.

In summary cardboard is associated mainly with throwaway packaging and it needn’t be. Re-imagining what’s on our doorstep can point to a less wasteful future.

Event: London Design Festival
Location: Brompton Design District
Curation: Jane Withers Studio
Date: September 2021
Studio Photography: Brown Office
Exhibition Photography: Andy Stagg

For the occasion of London Design Festival 2021 Brown Office were invited by Jane Withers Studio to take part in Brompton Design Districts curated programme ‘From Here Onwards’.

In response to the theme Brown Office conceived of ‘New Adventures in Cardboard’ as part exhibition and part maker space to explore the potential of repurposing waste cardboard packaging - an omnipresent material, especially so during lockdown. Over the course of the festival in a disused garage in Thurloe Place Mews, Brown Office founder Dean Brown designed, made and exhibited a collection of cardboard objects and furniture to highlight the creative potential of remaking rather than only recycling cardboard.

Using simple tools and methods discarded shoe boxes, pizza boxes, poster tubes and delivery cartons were transformed into lighting products, clocks, fans, side tables, kinetic sculptures and a portrait of Dean’s cat Cinnamon who is a cardboard fanatic. All of the pieces were made using cardboard amassed from home deliveries or salvaged from the streets of Hackney.

As a raw material, cardboard can be sourced locally and worked without specialist equipment. It is inherently sturdy, malleable, repairable, and lends itself to transformative surface treatment. As a versatile container it is particularly interesting when used to house electronics.

In summary cardboard is associated mainly with throwaway packaging and it needn’t be. Re-imagining what’s on our doorstep can point to a less wasteful future.

Event: London Design Festival
Location: Brompton Design District
Curation: Jane Withers Studio
Date: September 2021
Studio Photography: Brown Office
Exhibition Photography: Andy Stagg

For the occasion of London Design Festival 2021 Brown Office were invited by Jane Withers Studio to take part in Brompton Design Districts curated programme ‘From Here Onwards’.

In response to the theme Brown Office conceived of ‘New Adventures in Cardboard’ as part exhibition and part maker space to explore the potential of repurposing waste cardboard packaging - an omnipresent material, especially so during lockdown. Over the course of the festival in a disused garage in Thurloe Place Mews, Brown Office founder Dean Brown designed, made and exhibited a collection of cardboard objects and furniture to highlight the creative potential of remaking rather than only recycling cardboard.

Using simple tools and methods discarded shoe boxes, pizza boxes, poster tubes and delivery cartons were transformed into lighting products, clocks, fans, side tables, kinetic sculptures and a portrait of Dean’s cat Cinnamon who is a cardboard fanatic. All of the pieces were made using cardboard amassed from home deliveries or salvaged from the streets of Hackney.

As a raw material, cardboard can be sourced locally and worked without specialist equipment. It is inherently sturdy, malleable, repairable, and lends itself to transformative surface treatment. As a versatile container it is particularly interesting when used to house electronics.

In summary cardboard is associated mainly with throwaway packaging and it needn’t be. Re-imagining what’s on our doorstep can point to a less wasteful future.

Event: London Design Festival
Location: Brompton Design District
Curation: Jane Withers Studio
Date: September 2021
Studio Photography: Brown Office
Exhibition Photography: Andy Stagg

For the occasion of London Design Festival 2021 Brown Office were invited by Jane Withers Studio to take part in Brompton Design Districts curated programme ‘From Here Onwards’.

In response to the theme Brown Office conceived of ‘New Adventures in Cardboard’ as part exhibition and part maker space to explore the potential of repurposing waste cardboard packaging - an omnipresent material, especially so during lockdown. Over the course of the festival in a disused garage in Thurloe Place Mews, Brown Office founder Dean Brown designed, made and exhibited a collection of cardboard objects and furniture to highlight the creative potential of remaking rather than only recycling cardboard.

Using simple tools and methods discarded shoe boxes, pizza boxes, poster tubes and delivery cartons were transformed into lighting products, clocks, fans, side tables, kinetic sculptures and a portrait of Dean’s cat Cinnamon who is a cardboard fanatic. All of the pieces were made using cardboard amassed from home deliveries or salvaged from the streets of Hackney.

As a raw material, cardboard can be sourced locally and worked without specialist equipment. It is inherently sturdy, malleable, repairable, and lends itself to transformative surface treatment. As a versatile container it is particularly interesting when used to house electronics.

In summary cardboard is associated mainly with throwaway packaging and it needn’t be. Re-imagining what’s on our doorstep can point to a less wasteful future.

Event: London Design Festival
Location: Brompton Design District
Curation: Jane Withers Studio
Date: September 2021
Studio Photography: Brown Office
Exhibition Photography: Andy Stagg

For the occasion of London Design Festival 2021 Brown Office were invited by Jane Withers Studio to take part in Brompton Design Districts curated programme ‘From Here Onwards’.

In response to the theme Brown Office conceived of ‘New Adventures in Cardboard’ as part exhibition and part maker space to explore the potential of repurposing waste cardboard packaging - an omnipresent material, especially so during lockdown. Over the course of the festival in a disused garage in Thurloe Place Mews, Brown Office founder Dean Brown designed, made and exhibited a collection of cardboard objects and furniture to highlight the creative potential of remaking rather than only recycling cardboard.

Using simple tools and methods discarded shoe boxes, pizza boxes, poster tubes and delivery cartons were transformed into lighting products, clocks, fans, side tables, kinetic sculptures and a portrait of Dean’s cat Cinnamon who is a cardboard fanatic. All of the pieces were made using cardboard amassed from home deliveries or salvaged from the streets of Hackney.

As a raw material, cardboard can be sourced locally and worked without specialist equipment. It is inherently sturdy, malleable, repairable, and lends itself to transformative surface treatment. As a versatile container it is particularly interesting when used to house electronics.

In summary cardboard is associated mainly with throwaway packaging and it needn’t be. Re-imagining what’s on our doorstep can point to a less wasteful future.

Event: London Design Festival
Location: Brompton Design District
Curation: Jane Withers Studio
Date: September 2021
Studio Photography: Brown Office
Exhibition Photography: Andy Stagg

For the occasion of London Design Festival 2021 Brown Office were invited by Jane Withers Studio to take part in Brompton Design Districts curated programme ‘From Here Onwards’.

In response to the theme Brown Office conceived of ‘New Adventures in Cardboard’ as part exhibition and part maker space to explore the potential of repurposing waste cardboard packaging - an omnipresent material, especially so during lockdown. Over the course of the festival in a disused garage in Thurloe Place Mews, Brown Office founder Dean Brown designed, made and exhibited a collection of cardboard objects and furniture to highlight the creative potential of remaking rather than only recycling cardboard.

Using simple tools and methods discarded shoe boxes, pizza boxes, poster tubes and delivery cartons were transformed into lighting products, clocks, fans, side tables, kinetic sculptures and a portrait of Dean’s cat Cinnamon who is a cardboard fanatic. All of the pieces were made using cardboard amassed from home deliveries or salvaged from the streets of Hackney.

As a raw material, cardboard can be sourced locally and worked without specialist equipment. It is inherently sturdy, malleable, repairable, and lends itself to transformative surface treatment. As a versatile container it is particularly interesting when used to house electronics.

In summary cardboard is associated mainly with throwaway packaging and it needn’t be. Re-imagining what’s on our doorstep can point to a less wasteful future.

Event: London Design Festival
Location: Brompton Design District
Curation: Jane Withers Studio
Date: September 2021
Studio Photography: Brown Office
Exhibition Photography: Andy Stagg

For the occasion of London Design Festival 2021 Brown Office were invited by Jane Withers Studio to take part in Brompton Design Districts curated programme ‘From Here Onwards’.

In response to the theme Brown Office conceived of ‘New Adventures in Cardboard’ as part exhibition and part maker space to explore the potential of repurposing waste cardboard packaging - an omnipresent material, especially so during lockdown. Over the course of the festival in a disused garage in Thurloe Place Mews, Brown Office founder Dean Brown designed, made and exhibited a collection of cardboard objects and furniture to highlight the creative potential of remaking rather than only recycling cardboard.

Using simple tools and methods discarded shoe boxes, pizza boxes, poster tubes and delivery cartons were transformed into lighting products, clocks, fans, side tables, kinetic sculptures and a portrait of Dean’s cat Cinnamon who is a cardboard fanatic. All of the pieces were made using cardboard amassed from home deliveries or salvaged from the streets of Hackney.

As a raw material, cardboard can be sourced locally and worked without specialist equipment. It is inherently sturdy, malleable, repairable, and lends itself to transformative surface treatment. As a versatile container it is particularly interesting when used to house electronics.

In summary cardboard is associated mainly with throwaway packaging and it needn’t be. Re-imagining what’s on our doorstep can point to a less wasteful future.

Event: London Design Festival
Location: Brompton Design District
Curation: Jane Withers Studio
Date: September 2021
Studio Photography: Brown Office
Exhibition Photography: Andy Stagg

For the occasion of London Design Festival 2021 Brown Office were invited by Jane Withers Studio to take part in Brompton Design Districts curated programme ‘From Here Onwards’.

In response to the theme Brown Office conceived of ‘New Adventures in Cardboard’ as part exhibition and part maker space to explore the potential of repurposing waste cardboard packaging - an omnipresent material, especially so during lockdown. Over the course of the festival in a disused garage in Thurloe Place Mews, Brown Office founder Dean Brown designed, made and exhibited a collection of cardboard objects and furniture to highlight the creative potential of remaking rather than only recycling cardboard.

Using simple tools and methods discarded shoe boxes, pizza boxes, poster tubes and delivery cartons were transformed into lighting products, clocks, fans, side tables, kinetic sculptures and a portrait of Dean’s cat Cinnamon who is a cardboard fanatic. All of the pieces were made using cardboard amassed from home deliveries or salvaged from the streets of Hackney.

As a raw material, cardboard can be sourced locally and worked without specialist equipment. It is inherently sturdy, malleable, repairable, and lends itself to transformative surface treatment. As a versatile container it is particularly interesting when used to house electronics.

In summary cardboard is associated mainly with throwaway packaging and it needn’t be. Re-imagining what’s on our doorstep can point to a less wasteful future.

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Design: Dean Brown (Fabrica)
Photography: Shek Po Kwan (Fabrica)
Date: September 2014

‘The 7 Lamps of Making’ is a design research project that re-visits John Ruskin’s essay ‘The 7 Lamps of Architecture’ (1849) as a guide for 21st century making - translating 19th century craft theory into a contemporary design collection. The project translates Ruskin’s metaphorical guiding ‘Lamps’ into literal ‘Lamps’ objectified as tangible examples of the 7 guiding principles in practice. These critical objects embody and question the enduring principles of good craftsmanship according to Arts and Crafts mantras.                    

Adopting the vocabulary of the 21st century Maker Movement the project renders the principles relevant to makers now - using readily available democratic tools and materials such as 3D printing, LED lighting, laser cutting and kit electronics. ‘The 7 Lamps of Making’ places the Maker Movement in historical context, recognising and disseminating the enduring craft values that underpin making things of quality. 

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

01. ‘E’

The identity of East London is shaped by industry and wind direction. Like many cities, including Paris, New York and Helsinki, London historically has a poorer East End, and a more affluent West End. This urban characteristic is largely attributed to prevailing westerly winds that blow from west to east, causing factory smoke and pollutants to drift down wind, towards the east of the city. At the peak of the Industrial Revolution East London was a thriving hub of Industry producing many goods including beer, boiled sweets, matches, dog biscuits, sugar, rockets, soap and church bells - including Big Ben. Middle and upper class residents established themselves away from the factories and the working classes had to live in the more affordable yet polluted East End. Many residents identified as Cockneys, which traditionally was defined as someone born within earshot of the St. Mary Le Bow Church bells.

02. ‘A’

Since the 1990’s regeneration and gentrification have redefined the post Industrial landscape including sites such as the Canary Wharf finance district, the Queen Elizabeth Olympic Park and the East Bank. What were previously docklands, fields and marshes are now home to global finance headquarters, innovation hubs and sports arenas. Such urban renewal brought wealth and prosperity to deprived areas, but also created extreme wealth inequality and a divided sense of identity between long term residents and new arrivals.

03. ‘S’

The East End district of Bow has a long and rich history due to its location next to the River Lea. The name ‘Bow’ itself is derived from a bridge commissioned by Queen Matilda in 1110. It was the first bridge to be built in the UK in the ‘French style’ with a pronounced arch, shaped like a bow.

The river Lea enabled many goods to come and go from the area by canal boat. Wind powered and tidal grain mills could be found along the river banks alongside factories making porcelain, soap, rockets, ink and gin.

The Lock-keeper’s Cottage was home to Luke Howard, a local manufacturing chemist and an amateur meteorologist, who is credited as the ‘namer of the clouds’ for defining the Nomenclature for Clouds (1802) which is still used today.

04. ‘T’

Blackwall had been the arrival, departure and repair point for East India Company ships since 1617 and prior to that Deptford (1607-1617). In 1806, 200 years into the East India Companies trade dominance the existing Brunswick Dock was expanded to become the East India Docks (EID). Compared to the larger West India Docks (built in1802) cargo was of a higher value here, yet of a lower volume.

Tea, spices, indigo, silk, and Persian carpets were imported from India, China, and Indonesia at EID and enabled complementary industries such as spice merchants and pepper grinders to thrive in the Blackwall area. Today the streets surrounding the docklands bear the names of significant goods traded there - Clove Crescent, Nutmeg Lane, Coriander Avenue, Oregano Drive, Rosemary Drive and Saffron Avenue.

The East India Company brought wealth, worldly goods & cultural exchange to the people of the UK however its lasting legacy is also of conflict, power and exploitation that beckoned in the era of the British Empire in India.

05. ‘E’

Over 90 languages are spoken in East London. Within the boroughs of Tower Hamlets and Newham Bengali is the second most common language group to English followed by Chinese, French, Spanish, Italian, Somali, Urdu, Gujarati, Lithuanian, Tamil, Polish, Punjabi, Romanian and Portuguese.

Individuals and communities in East London identify as Christian, Muslim, Hindu, Sikh, Buddhist, Jewish and Non Religious. Newham is considered London’s most religious borough with 89.4% identifying as religious. Only three London boroughs have communities where Christianity is not the largest group, all of which are in east London. Tower Hamlets largest religious group is Islamic, whilst Hackney and Islington’s largest religious group is non-Religious.

06. ‘N’

East London as we know it was, for centuries, outside of the city limits. The now urban areas of West Ham, East Ham and Plaistow were previously rural villages, farmland and marshland. The modern district of Forest Gate takes its name from a gate between the forest to the north and agricultural land to the south. ‘Forest Gate’ is mentioned as far back as 1693 and became a definitive and enduring place name in the early 1800’s. The wooden gate and gate house stood until 1881 and the same spot has since become a pub, a pharmacy and a block of flats.

07. ‘D’

In 1878 Henry Tate, a successful business man in the sugar refining industry, expanded his empire from his Liverpool base to a new factory site in Silvertown E16 in East London. Meanwhile Abram Lyle, a Greenock based ship owner, was also diversifying into the sugar business and set up a rival factory in Plaistow Wharf in 1883 making golden syrup and treacle. In 1921, after the death of the two founders ‘Tate and Sons’ and ‘Lyle and sons’ became ‘Tate & Lyle’.

Prior to the merger both businesses thrived independently for over 60 years, the vast profits from ‘Henry Tate & Sons’ funded the opening of the Tate Gallery in 1897, now known as Tate Britain. Henry Tate contributed £80,000 to the building of the gallery itself and donated 65 paintings from his collection, many of which were by Pre-Raphaelite artists. The Tate Galleries state that although Henry Tate, nor Abram Lyle, were never slave-owners there successes ‘do connect to slavery in less direct but fundamental ways’.

Firstly, although the abolishment of slavery in the UK (1807) pre-dates the birth of either founder, the success of there companies was founded on the already established sugar plantations in the Caribbean and South America which were founded on the basis of colonial slavery in the 17th and 18th centuries. Secondly, the British ownership and management of these colonies into the 19th century ‘contributed to the progressive under-development and impoverishment of the Caribbean’. Thirdly the Tate collections do include artworks, by JMW Turner and Joshua Reynold, that were donated or commissioned by slave-owning patrons of the arts including John ‘Mad Jack’ Fuller , Rev. William Long and Sir Charles Long 1st Baron Farnborough.

08. ‘E’

The BBC hit soap opera EastEnders has depicted lives lived in the East End with authentic grit since 1985 - yet it is not filmed in East London, and is set in the fictitious London borough and postcode of Walford E20. The heart of the show, Albert Square, is however modelled on a real East End neighbourhood - Fassett Square in Hackney Central E8. This late Victorian era neighbourhood consisting of 56 homes with a central garden square was used to film a pilot episode of the show. Residents complained about the filming disruptions and thereafter Fassett Square became the blueprint for the fictional ‘Albert Square’ which was created at Elstree Studios, Hertfordshire, where the show has been filmed ever since.

09. ‘R’

Between 1855-1921 an Essex marshland known as ‘Lands End’ was radically transformed into three interconnecting Docks - the Royal Victoria Dock (1855), The Royal Albert Dock (1880) and the King George V Dock (1921). Upon their completion the Royal Docks were the largest area of man-made enclosed water in the world. Envisioned by the Victorian Engineer George Parker Bidder the docks were ground breaking in a number of ways as the first in London to accommodate large steam ships, to use hydraulic powered machinery and the first to connect to the national railway network.

Goods imported from here were vast and varied, including beef, mutton, grain, tobacco, oranges, bananas, apples, elephants and automobiles which were stored in the surrounding warehouses before being distributed far and wide by railway. As well as cargo ships the Docklands also accommodated passenger ships relocating settlers to Australia and South Africa.

Containerisation was the eventual downfall of the Inner city Docks, which fell into decline from the 1960s onwards, as cargo ships were replaced by larger and more efficient freight ships which moored at a larger Dockland site down river at Tilbury.

10. ‘S’

When film production began for the Vietnam War epic ‘Full Metal Jacket’ Stanley Kubrick had a problem. He did not like to fly, he lived in England, yet over half the film was set in Vietnam. A solution was found in the form of a 550-acre defunct Gas Works in Beckton which was transformed into the bustling streets of Da Nang and the War-torn remnants of the city of Hu with the help of 120 imported palm trees. Beckton Gas Works was also used as the film set for the Bond movie ‘Four your eyes only’ starring Roger Moore, ‘Brannigan’ starring John Wayne and ‘1984’ starring John Hurt.

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Date: April 2021

A virtual world building experiment mapping the history of East London.

The identity of East London is often associated with Shoreditch, Whitechapel or Hackney, yet the East End stretches significantly further east than these well known hot-spots close to central London. The title sequence of the BBC soap opera EastEnders reveals a greater sense of the true scale of the East End, which from ‘E’ to ‘d’ spans Victoria Park to Barking. As a homage to Alan Jeapes’s masterpiece this project asks the question ‘What if the EastEnders Logo was real?’ and how could it be used to communicate the diverse history of East London.

Adopting Google Earth as a virtual reality venue enables the EastEnders logo to be writ large across the horizon as London’s alternative to the Hollywood sign, each of the ten letters constructed 95 metres above street level. Places and events of historical significance are mapped out across the face of the typography, making use of the 1370 acres of surface area. Here we re-encounter the smog of the Industrial Revolution, the exotic cargo of the East India Docks and Stanley Kubrick’s Vietnam, filmed in Beckton.

Building the project using 3D modelling software in conjunction with Google Earth enables a digitally native mode of practice - less akin to a product and more like a virtual tour or computer game - designed to exist in virtual reality. Within this space there is potential to imagine scenarios that are distinct from reality, through the creation and geo-location of imaginative interventions and novel ways of experiencing them in relation to landscape. This disconnect allows us to explore the potential of a ‘between space’ - to speak about our world, without the constraints and compromises of having to build within it.

Overall ‘What if the EastEnders Logo was real?’ uses virtual world building to create an open air museum of sorts. It aims to present the vast and varied history of the East End in relation to real places. Casting light on our far and recent past enables us to understand the forces that continue to shape the landscape and identity of East London today.

-

“Having lived in East London for 7 years, I’m aware of my status as a relatively new arrival, a symptom of gentrification, rather than a proper East Ender. Throughout 2020 with lots of time on my hands this project enabled me to explore the East End in a fuller sense, through a lot of cycling, reading and 3D modelling. This is my love letter to East London, the story of my neighbours, past and present.”

Dean Brown

Client: Barbican & Community Library
Commissioners: Helen Tremaine & Rachel Levy
Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library might play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et all 2015) as a way of addressing social isolation in the City of London.

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a 2 day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.

The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets. Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character. When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Barbican & Community Library to the community in a tangible and playful way.

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy
Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy
Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid 
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy
Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy
Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid 
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation. 

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making. 

The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way. 

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation. 

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy
Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid 
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: O.D. Okoye
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: Dean Brown
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: Dean Brown
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: Dean Brown
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: Dean Brown
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making. 

The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way. 

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: Dean Brown
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making. 

The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way. 

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: Dean Brown
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: Dean Brown
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation. 

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: Dean Brown
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library 
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid  
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: Dean Brown
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library
Commissioners: Helen Tremaine & Rachel Levy

Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: Dean Brown
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.

Client: Barbican & Community Library
Commissioners: Helen Tremaine & Rachel Levy
Project Partner: Made By Play
Project Leads: Karl Toomey & Lizzie Reid
3D Signage Design: Dean Brown with Karl & Lizzie
Photography: Dean Brown
Date: June 2021

In early June 2021 the Barbican & Community Library in association with Made By Play invited Karl Toomey & Lizzie Reid to embark on a research project exploring loneliness and the role a library could play in helping foster more community connections. The extensive research, conducted through workshops, surveys and phone calls with members of the community, explored the notion of ‘bumping spaces’ (Dr Roger Green, et al 2015) as a way of addressing social isolation in the City of London. 

Brown Office were invited to join this interdisciplinary team to concept, detail, build and install signage that captured aspects of this research and presented it back to the community as 3-Dimensional landmarks deployed within the ‘bumping spaces’ around the Barbican estate. Our collaborative approach envisioned a signage system that not only prioritises messaging and signposting, but also public participation.  

Each of the four signs we created were distinctively double sided - one side featuring a quote from a local community member, the other featuring an interaction relating to the quote. Over the course of a two day public study in June 2021 community members were invited to dialogue with the quotes through writing, drawing, photography and mark making.  

 The signs were designed to be tonally approachable and informal, yet fit for outdoor use - composed of a timber construction with powder coated aluminium panels and weighted bases in the form of off-the-shelf buckets.  Composing the panels with ‘mismatched’ shapes in bold contrasting colours provided the opportunity to frame smaller shapes within larger shapes, as well as creating internal cut-outs to hold postcards, chalk and an instant camera.

Each sign has its own distinct colour-way and panel composition creating an overall impression of an eclectic and colourful family of sorts - each member with a unique character.  When deployed within the thoroughfares or ‘bumping spaces’ around the Barbican and Golden Lane the signage became a distinctive and approachable focal point that connected the Library to the community in a tangible and playful way.  

Day one of our study saw the signs deployed and used within Fortune Street Park, followed by the Barbican Highwalk on day two. During the two day study the four signs collectively had over 1000 views and 250 participant engagements. Furthermore they sparked numerous conversations between neighbours about loneliness, fostering more community connections and the role the Library can play in addressing these issues.

Beyond these initial studies the Library plans to use the signage, and the research that informed their design, in future public engagement initiatives.