Originally from Silkeborg, Denmark. Before starting my Master’s Degree at RCA, I studied Interior Design at Florence Institute of Design International in Florence, Italy, followed by my Bachelor’s Degree in Spatial Design at The Royal Danish Academy of Fine Arts, School of Design in Copenhagen, Denmark. During my BA I did an internship with Faye Toogood at her studio in East London.
HUMAN-KIN is a proposal for a visionary home in London for kinship families. My goal for the project is to design a collective home that embodies different ways of living responding to a future in which the nuclear family is no longer the norm, and which therefore also spatially breaks away from the traditional configurations of domestic space.
The three LGBTQIA+ housing associations TONIC Housing, Stonewall Housing and Opening Doors London have recently joined forces to research the well-beings of the +55-year-olds within the LGBTQIA+ community in London. This is recognised as a group which feels particularly isolated, overlooked and not belonging in regular society. In response to this research, I have designed housing for this particular group of people with the aim of bringing them closer together as a community and kinship family but also to make them visible and part of the city fabric.
Living through a pandemic dramatically emphasizes our human needs and desires for kinship and togetherness which are as crucially important to respond to as to rational requirements. HUMAN-KIN is therefore not a hyper-optimized co-living institution, but a collective home that embodies different ways of living responding to a future in which the nuclear family is no longer the norm.
The site for my project is a tunnel-opening behind a Georgian ghost façade in Leinster Gardens, Bayswater, London. So, HUMAN-KIN is also to be seen as a response to a dis-functional housing market in London which the pandemic has further exposed. We need to rethink, reuse and update already existing buildings and unused sites and make more useful domestic spaces for the 21st century and beyond.
As a spatial translation of the initial collage statement, focus has been placed on the relationship between private and shared space, and with emphasis on the fluidity of the use of the in-between space as dynamic meeting points between the inhabitants.
Size:21 X 18 X 24 cm
The site is behind a Georgian ghost facade in Leinster Gardens which is situated in the Bayswater area in London, close to Hyde Park.The Georgian ghost facade was built in 1868 as part of a series of Georgian terraced houses, however, the purpose of the site was to leave it as a tunnel-opening for trains underneath to let out steam.
What I find particularly interesting about this site is the dramatic contrast between the polished and decorated white formal facade and the rough and unfinished informal back.
As a way to enter the project on a closer scale I looked into furniture where I was particularly interested in the chair as an almost humanlike character. By sampling chosen chair cut-outs I have created families of chairs as mediators of thresholds between space and inhabitants.
This is an example of a two person dwelling situated on level 3 and 4. For the interior identity of the dwelling, I have focused on warm natural materials using timber as a prominent material. The color scheme references back to my retake on the London stock brick. Furthermore, I have focused on natural light and access to balconies enhancing a sense of well-being. My positioning of chairs and window seats allow for views into the courtyard and the community.
Medium:Collage visuals & physical model
The overall design is made up of pre-fabricated units which can easily be changed into other configurations and adapted to different needs of future inhabitants. Also, the units are adaptable and scalable for other sites.
The site being open to the train underneath and being a constant reminder of the connection to the city and symbolising the fast pace of the city but also rhythm of the train constitute an important element of my design. Vertically the design opens up to the train underneath and uses the form language and rhythm of the train arches.