STUDIO JENNY JONES
UNIT 307, 203-213 MARE STREET
LONDON E8 3QE   
HELLO@STUDIOJENNYJONES.COM
T+44 207 613 5140

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WORK HERE: no vacancies at present

 

 

STUDIO JENNY JONES _ ARUP

Arup Atrium Installation

Dynamic connectivity: a kinetic installation of light and reflections. How to connection between floors?

Jenny Jones | Escape the City | ANFA | Cajal

THE SPACE BETWEEN

POLITICS OF SPACE | Can the design of space nudge behaviours? Can design be in the toolbox for social change? What is sense of place?

Studio Jenny Jones | Leon Kacinari

Talking about transformation

Sui Generis | Artist Residencies in the City | A new economy

Studio Jenny Jones _Frank Cohen_Nicolai Frahm _Paul Raeside_Yoshitomo Nara

The Dairy Art Centre

How to repurpose an industrial building into an International Art Venue | Film by Andrew Telling

Studio Jenny Jones | Paul Raeside | Nocturne Workshop

Table 205

How to create a junction between top and leg that seems a bit like magic

Studio Jenny Jones | Open house | Dairy Arts Centre

Contextual Research

Cultural Nolli, Mapping of WC1 showing cultural space as public realm

Studio Jenny Jones | Elders

Inside Out & Outside In: Flow

How to hide a house in a walled garden.

biophilia

biophilia and immersive artifice to visualise a new type of environment

Research & Teaching

THE EFFECT OF DESIGN ON WELLBEING

Research | New futures


In collaboration and consultation with practioners and promoters we are researching and developing a Vision Script that celebrates and developes the known effects of environment on wellbeing to visualise a new type of retreat.

RCA MA IDS2 SENSORY ALGORITHM

IDS 2 


Each project starts with the idea; a notion, an ambition, a vision, a question. 

The acts of decision-making between inception of the idea and the “completion” can be described as “ the process”.

The path of “the process” is one that weaves acquired and new knowledge and intuition: a sensory algorithm of experience, fact, and emotion played out through time. The sensory algorithm could be interpreted as oxymoronic and this is deliberate. The design of the interior is a complex resolution of historical, contextual, political, sensory, mathematical and technical inputs and we want to provoke awareness of ALL that is considered as we consciously and unconsciously, rationally and irrationally, navigate our way through, choosing what to emphasize, prioritise, include and what to discard.

Every aspect in your process forms part of the sensory algorithm of your thesis. You will focus on developing an awareness of the practice of process as a tool for the development of your thesis.

THE STUDIO

We want you to be “masters” of your territory. We expect scientific research, intuitive witchery, site investigations, material experiments at all scales. ergonomic theatre, perception challenges, decision theory, multi-sensory paradigms , programming choreography, interaction scripting, atmospheric alchemy, story telling. We will encourage you to use both analogue and digital techniques.

We are not prescribing your project brief but we expect you to set your ambition and territory from very early on. The thesis position can be playful or reverent, fanciful or sublime, material-led or metaphysical, but it will be developed through this process of research and testing and documentation. We expect your thesis to be informed by your dissertation, even if it’s a reaction against it. The aim is to develop original concepts that lead to rich, layered design proposals, grounded in their context, aware of their politic, developed in their aesthetic and that provoke you to investigate, not what Interior Design is but what it could be…

Key to the studio is the discipline of regular documentation of process. Eventually you will have a year-long assemblage of material that reveals and reflects this. The choice of media should be driven by your manifesto. Reflect on the enduring relevance of Marshall McLuhan: “the medium is the message”. We will not prescribe your medium but it must be tangible. It could be an incremental model, a mile long collage, a tapestry of media, a continuous sketch. It is a live assemblage and should always be seen as a work-in-process…

 

NOLLI 21ST CENTURY BLOOMSBURY

Research | Dairy Art Centre


As part of our research for the Dairy Art Centre and for Openhouse weekend we drew mapped the area using Nolli's rules but including cultural space. We felt that the sequence of arriving at the Dairy, contextualized the eventual experience of moving through the internal volumes of the Art Centre itself. As an internal public space, non-commercial and free entry, the Dairy Art Centre was connected with the external public space and Nolli's cartographic representation expresses this.

Jenny Jones, Vitarat Pariyawatakul

TALKING ABOUT TRANSFORMATION

Animated Classifications / Merging the Public & Private / The Mixing Chamber 


Throughout the 80’s and 90’s the use of the Sui Generis “live/work” classification permitted investors to develop unused industrial spaces.By permitting hybrid planning classifications, spaces are vitalised by the momentum of change and the viability of generating a gamut of revenue streams  is increased by permitting flexible (but covenanted) uses in the building to minimise redundant space and maximise animation. 
What if we introduced more /// to the Sui Generis?
Could this overlap generate a new economy; allowing more with less?
Programmed change of use acts like a musical score, the way the building is used transforms as the classification changes. The line between public and private is blurred and dynamic and permeable building encourages a place where connections are made.
What if the narrative to the score was to provide good sized studio space, convenient living accomodation, engage the community in the work from the studios AND subsidise this with other revenue streams with higher margins that do not take over. 

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