‘The soft’ning wax, that felt a nearer sun, dissolv’d apace, and soon began to run.’
As part of the Group of 41's inaugural outing, CAN was asked to respond to one of 24 lines of Ovid's Daedulus and Icarus.
Throughout the day, wax Icarus' were slowly thrust towards a deep red heat lamp, where they met their fate and collected on the mirrored table below.
Mat Barnes | Nina-Shen Poblete
The design imbeds itself in its context, reflecting the eclectic history of the square back on its self. It plays on the square’s ecclesiastical past by using the church's technique of celebrating people and events through the use of Stained Glass.
Each of the three windows is dedicated to one of the square’s most influential people; John Newton, the clergyman who wrote ‘Amazing Grace’, Peter Durand, a merchant who invented the process of tinning and preserving food and lastly, Eddie Piller, the founder of the square’s first nightclub, The Blue Note, which signalled the tide of the creative industries to the area.
Mat Barnes | Eddie Blake | Photos + Film by Tamás Olajos
After a lifetime of flogging sterile white boxes, the failed modernist can finally rest amongst the ruins of their suppressed desires.
The Modernist’s Mausoleum allows them, in death, as in life, to maintain their austere modernist facade. The bleak and unadorned mausoleum that greets friends and family, is merely the wafer thin rear of a grand triumphal arch. Behind the nondescript door lays a heady mix of distorted and trippy columns. These all surround the grand Corinthian Casket.
To ensure the modernist’s eternal peace, two doric-faced cherubs, holding neon candles, keep guard.
Shortlisted entry for Monumental Masonry
Mat Barnes | Anna Lomax
The internal re-modelling of a 1960's semi to utilise its square plan and abundance of natural light.
The scheme hinges on the installation of a single I-beam opening the kitchen up to the rest of the ground floor. The kitchen takes it's ornamental cue from local train stations and the uniform brick of the surrounding garden estate.
The garden is concealed behind a full wall of baby pink latex.
A rooflight was added to bring light into the new bathroom with cupboards and niches set into a false wall.
The QR Island hides information in plain sight. It looks at the encroachment of technology and advertising on both the planet and our daily lives.
By creating a fictional man-made landform as a digital link to CAN's website it proposes the largest scale of advertising yet, one which can be read from a plane or google earth.
Exhibited at Dezeen Platform
Mat Barnes | Eddie Blake
CAN has been commissioned to design a single person dwelling for an artist on an extremely tight site in the Brookmill Conservation Area, Deptford.
The scheme is currently in planning.
Our shortlisted proposal tackles many of the problems with today's rental market by proposing a new housing typology, which sits within a new community.
Streets have houses fronting onto them with common civic fronts, creating a sense of place for the development. At the same time, because of the small changes in colour and design, each unit is different, and lets tenants feel ownership of their home. At the rear, a higgledy piggledy elevation, with room for customisation by tenants, overlooks a common garden that residents can use for playspaces and growing vegetables. The approach of using a civic front facade, with a changeable plan behind, maintains a suburban character to the terraced streets, yet allows flexible and “size-blind” units behind.
Within the development everything can be rented off the landlord of the estate, from work-space or street cars, to furniture packages and additional rooms. As part of the tenancy agreement, certain aspects of managing the development, such as street sweeping, are done by residents. Based on the number of hours a resident spends on development management, as well as how long they have rented their property for, they receive a rent reduction.
By arranging the units into blocks of 60 units, roughly 150 residents will use the communal garden, corresponding with Dunbar’s Number for the ideal number of individuals in a community. These communities will have their own social network to distribute unwanted furniture, excess vegetables and arrange events.
Mat Barnes | Eddie Blake | Office S&M
A shock red tablecloth draped over an invisible podium formed CAN’s response to the RIBA's PewPerches competition.
The bench, only 13mm thick, seemingly hovers above the ground. The bench was installed in London Pleasure Gardens for the beginning of the London Festival of Architecture 2012 and is now a permanent addition.
Mat Barnes | Eddie Blake
With Thanks to Concrete Canvas
‘Public Life in a Private Place’ proposes a temporary architectural sculpture and series of events exploring citizenship in the twenty-first century.
The structure is a reference to the public/private nature of Finnish character – reserved at first glance, but a scratch of the surface reveals unexpected delight. Here the barn, which forms the exterior of the structure, represents community, plainness and modest character. The basilica, which forms the structure’s interior, represents ritual, public life, and the richness of inner qualities not visible at first sight.
The basilica/barn is constructed from ship-lap timber cladding on the exterior and CNC-milled foam on the interior. The upper structure is constructed on an off-the-shelf steel scaffold frame raised up on timber columns anchored to the brick with steel plates. All elements will be pre-fabricated off site to allow for an on-site assembly of a few days.
Edidie Blake | Crystal Bennes
'Soon after we can see, we are aware that we can also be seen. The eye of the other combines with our own eye to make it fully credible that we are part of the visible world'
Ways of Seeing, by John Berger
A proposal to transform 14-16 Cowcross Street aimed to facilitate a moment of self-realisation for the inhabitants of Farringdon; not by interrupting a social practice, but by holding up a ‘mirror’. Inspired by Berger, the installation encouraged visual & physical connections in order to playfully animate one’s social & spatial awareness in the city context. The art of perspective projection was utilised, the geometries of which became perfectly legible from one vantage point only. Move from this point, and the message distorted into abstract forms, dissolving the individual back into their everyday experience.
Eddie Blake | Rebecca Gregory | Emma Mcdowell
With Thanks to Metropolitan Workshop
CAN produced a temporary signage system and ‘scenography’ for the Barbican. The system had a deliberately temporal quality that celebrated the architecture and context of the Barbican, using swarms of lo-fi electronics and parasitic floating signage. The Barbican Weekender: Natural Circuits festival was themed around digital and electronic arts. LED ‘throwies’ and high-res digital prints were used to reinforce the brand.
Eddie Blake | Freddie Yauner
CAN was invited to participate in Archrival's Arena Calcetto, their installation for the Australian Pavilion at the 13th Venice International Architecture Biennale.
Artists, designers, architects and other creative 'makers' were invited to participate in this experimental worskshop, to create a series of unique objects for the exhibition and to become part of the Arena Calcetto project team.
CAN responded with 'One From Many', a play on the collaborative effort for the fussball table installation.
Mat Barnes | Eddie Blake
With Thanks to Archrival
The design of ‘Y Cwrlid’ is an attempt to acknowledge the presence of the past in Welsh life, while also putting it in its rightful place as an undercurrent to the contemporary flow of Welsh cultural life.
‘Y Cwrlid’ points to the fact that ‘Welshness’ cannot be merely reduced to traditional visual symbols such as dragons, leeks, castles or mines, but that there is something abstract and almost ethereal in ‘Welshness’. This quality is best represented in the poetry of the nation, and it is this heartfelt yet playful quality that ‘Y Cwrlid’ tries to evoke. Using the image of Caerphilly Castle from the south, with the skin of a Carthenni pattern from Caernarfon in the north, is an explicit attempt to symbolise the connection between North and South Wales and is designed to mirror the Eisteddfod’s annual journey between North and South.“A happy collision of north and south, old and new.”
Mat Barnes | Eddie Blake
“If you’re not angry, you’re not paying attention.”
The KK Outlet invited CAN for a week long residency as part of its “What’s Next?” series. CAN called in five of their favourite collaborators to tackle the problem of representing and interpreting the global financial crisis of 2008 and its continuing effects.
The largest piece produced was a collaborative wallpaper mural, and the week ended with a public panel discussion debating the repercussions of the crisis for the youth of today.
Mat Barnes | Eddie Blake | Rebecca Gregory | Emma Mcdowell | Hugh Mcewen | Molly Lansman | Nina Shen-Poblete