The workshop consisted in getting to know the history of the Gdańsk Shipyard and proposing solutions related to communication problems in this area.
The group, which included me, Ksenia Orlova, Alicja Durka, Katarzyna Szady and Agata Woźniczka. After an in-depth analysis, we realized that the main problem of this area is its misleading markings, the lack of legible signs and the lack of consistency (due to the division of plots between developers).
Referring to the theory of bouba and kiki interior design, we decided to apply it on the urban scale of this area - not only to disenchant the post-shipyard areas with austerity, but also to create a path of impressions (using, among others, totems) leading through the shipyard.
We divided the indicators depending on their timing. We referred to the history important for this area. Roses were grown in this area - they grew not only windows, but also gardens and pots. We decided to use them as a kind of bouba - suggestively guide the user of this space. We would use closed, decaying halls - to create a greenhouse - as well as encourage people to explore the area and initiate cooperation between developers through flower festivals.
The answer to the dangerous and unfriendly terrain, especially at night, was to use light - as buoys and lanterns, which would also help in moving around this area. In the abandoned halls, we proposed not only a museum of industrial structures, but also a solarium-hall or a zen hall.
Referring to the main idea - bouba and kiki - we would like to lead people to this area from the exit of the tram, therefore, having information about the planned investment of running a tram line, we propose a network of concept stops that will connect this area. From the outside, sharp, raw "kiki" just like the shipyard, while inside the "bouba" - round shapes and a reference to the softening of the area.
The group, which included me, Ksenia Orlova, Alicja Durka, Katarzyna Szady and Agata Woźniczka. After an in-depth analysis, we realized that the main problem of this area is its misleading markings, the lack of legible signs and the lack of consistency (due to the division of plots between developers).
Referring to the theory of bouba and kiki interior design, we decided to apply it on the urban scale of this area - not only to disenchant the post-shipyard areas with austerity, but also to create a path of impressions (using, among others, totems) leading through the shipyard.
We divided the indicators depending on their timing. We referred to the history important for this area. Roses were grown in this area - they grew not only windows, but also gardens and pots. We decided to use them as a kind of bouba - suggestively guide the user of this space. We would use closed, decaying halls - to create a greenhouse - as well as encourage people to explore the area and initiate cooperation between developers through flower festivals.
The answer to the dangerous and unfriendly terrain, especially at night, was to use light - as buoys and lanterns, which would also help in moving around this area. In the abandoned halls, we proposed not only a museum of industrial structures, but also a solarium-hall or a zen hall.
Referring to the main idea - bouba and kiki - we would like to lead people to this area from the exit of the tram, therefore, having information about the planned investment of running a tram line, we propose a network of concept stops that will connect this area. From the outside, sharp, raw "kiki" just like the shipyard, while inside the "bouba" - round shapes and a reference to the softening of the area.
