We are an integrated design and architecture studio based in London and working internationally

Our practice is founded in material and cultural research with a singular approach to design, one that marries analysis with a consideration of the emotional impact of each project. We take ideas as seriously as feelings and find solutions that are intellectually rigorous yet effortless and simple. The passion here is to create an environment of open conversation with our clients and collaborators with a focus towards the Arts and wellbeing.

The quality of the Studio's work is established from the agglomeration of Jenny Jones’ status as a chartered architect and a visiting lecturer on the MA interior design program at the Royal College of Art, who trained in the offices of Rem Koolhaas and Richard Rogers.

We offer services from strategic vision assessments through to the finest detail of implementation on projects and briefs of all scales.

We are an independent studio, allowing us to concentrate on delivering a focused and dedicated service. We have also formed collaborations and partnerships to deliver to specific briefs and programmes.

 

 

STUDIO JENNY JONES
62 BRITTON STREET
LONDON EC1M 5UY
HELLO@STUDIOJENNYJONES.COM
T+44 207 253 2034

INSTAGRAM; STUDIOJENNYJONES
TWITTER: @jennyjonesRIBA
LINKED-IN: JENNY JONES
VIMEO: STUDIO JENNY JONES
TUMBLR: STUDIO JENNY JONES

PRESS ENQUIRIES: PRESS@STUDIOJENNYJONES.COM
WORK HERE: no vacancies at present

 

 

Studio Jenny Jones | GAA Foundation | European Cultural Centre

REFLECTING ON THE SPACE BETWEEN

PALAZZO BEMBO | VENICE BIENNALE 2018

Studio Jenny Jones | Fjord | Accenture Interactive

FJORD INTERACTIVE STUDIO

New home in Farringdon - preview - full images coming soon

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 | Leon Kacinari

Talking about transformation

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

STUDIO JENNY JONES _ ARUP

Arup Atrium Installation

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

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

Studio Jenny Jones | GAA Foundation | European Cultural Centre

Reflecting on the Space Between

PALAZZO BEMBO | VENICE BIENNALE 2018

When we were Invited by the GAA Foundation to participate in the Venice Biennale they asked,

Q “How much wall space do you want?
A “Please can I have a window?”

The instinct was to create an exhibit that would be interactive, research-based and site specific: a mini project on the city viewed through a Grand Canal Palazzo rearview window.

The installation is both playful and thought-provoking, designed to encourage exploration beyond the Palazzo and into the freespaces of the City.  ‘Reflecting on the Space Between’ engages participants on an intellectual level, prompting them thinking about ways of seeing, scale and urbanism but also by inviting them to sketch, photograph and share experiences via social and digital media throughout the six months of the Biennale.

In contemplating the city of Venice, Studio Jenny Jones has created ‘Reflecting on the Space Between’, a site-specific, interactive installation occupying the rear view windows of the Palazzo Bembo, that maps an imaginary desire line from a dislocated view to its original siting. The layers of the route are viewed through the lens of human scale and the laws of reflection.

Jenny Jones explains: “The work we have created here in Venice reflects the design process that we use in the studio. We apply these principals to internal and external situations and across diverse scales. At the centre of our approach is a curiosity about the effect that design has on the relationship we have with the scale and permeability of the containment of an atmosphere….”

 

 

Organisers | GAA Foundation
Hosted by | European Cultural Centre
Location |
Palazzo Bembo 
Date | 26th May to 25th November 2018


We exist in the space between. 

The dimension and quality of the containment of space on one hand delivers the function and the politic, and on the other hand the possibility to touch our emotions.

In Venice, the spatial dance between the proportion of alleys, the cadence of stairs, the water’s edge, the visual span of the grand vista, the suspended moment on the flat peak of the Rialto, is almost intact from those days of Canaletto. Through the words of Calvino, the recordings of the vedutisti, Stendhal’s prognosis, the ultimate commercial flattery of a “replica” in Las Vegas, and now the proliferation of #s from those selfies, we can surmise that we really “like” Venice. But what is it that we like? Is it the desire to record in person those intact grand vistas first exported with the Grand Tourers?

In Las Vegas, at the Venetian, they inadvertently answered this question by building an architectural copy paste of those big hitters, engineering an image-capture-top-ten-journey to the belly of the Casino. But the Rialto (on travelator) segue to the first floor of the Doge’s Palace etc. misses the derive, the detournage, the getting lost, that augments and agglomerates. The deletion of the journeys between renders the opiate quest of finding the trophy view all too easy. In Vegas the engineered edit probably delivered what was intended. 

In Venice, we are curious to study the spatial choreography of the unedited. We have created a site specific and interactive installation, occupying the rear view windows of the Palazzo Bembo, mapping an imaginary desire line from a dislocated view to its original siting. The layers of the route are viewed through the lens of human scale and the laws of reflection. The work we have started here in Venice illustrates a design process that we use in the studio. We apply these principals to internal and external situations and across diverse scales. At the centre of the approach is a curiosity about the effect that design has on the relationship we have with the scale and permeability of the containment of an atmosphere.

 

Design Team : Jenny Jones, Christina Huber, Mara Huber, Lucy Irvine, Dionne Griffith
Staircase : Shape Design & Build
Metalwork: Benedict Radcliffe & Tom Guitteraz
Window Reprographics : Insite Graphics
Note Pad Stair Reprographics:  LT Print Group Ltd
Film Supply: Contravision Sponsorship
Logistics: Interlinea
Canaletto Permission: Institute de France Musée Jacquemart-André Paris, MJAP-P 577-1© Studio Sébert Photographes

Special Thank you to: Dr Gian Luca Amadei Stephanie Buttle Paul Raeside Steve Wallington Tim Warren Nini Zhou all at GAA Foundation and Palazzo Bembi


 

EVIDENCE OF AWE

Is our relationship with Venice is preconceived? Is it attractive because it is dimensionally harmonic with primal neural imprints? Is the absence of road traffic the equivalent of pratyhara? A delightful dynamic  between gained knowledge and the sentient?

Stendahl Syndrome, named after the French author Stendhal (pseudonym of Marie-Henri Beyle), is a (disputed) psychosomatic disorder that causes rapid heartbeat, dizziness, fainting, confusion and ( even ) hallucinations when an individual is exposed to an experience of great personal significance, particularly viewing art. ( first “recorded” in Florence in the 19th Century – we take the liberty here to transfer the possibility to Venice )

The concept of the "Beholder's Share" suggested by the neuroscientist Eric Kandel proposes a measurable relationship between the viewer and the object being viewed. If we imagine for this project that the metric here is proportion of space ( or at least the sense of containment of space ) what measure could be found between proportion and engagement?

The data of pilgrimage:  30 million visitors to Venice every year. Period. Driven by the desire to "be here"? To record the Grand Vistas?  Evidence of neural delight or of a behavioural cultural gaming? It would seem regardless of the age and the method of recording from the vedutisti to the selfie stick, one purpose for the visit is to capture the image. The daily frenzy of # recording at the Rialto "peak" as evidence ripe for a study into the metric  of "awe".

THE INSTALLATION

From the rear windows of the Palazzo Bembo we create a veil with an aperture to a borrowed view of Canaletto’s Rialto Bridge. Painted in the 1700’s and now living in the Musee Jacquesmarte Andre in Paris.  We have borrowed the image not just from Paris but also from the stretch of the Grand Canal in front of the Palazzo Bembo where it was originally painted. The dislocated view is then reflected through the aperture upside down as though camera obscured from the front of the Palazzo, back into an internal mirror that rights the image once more for the rear view visitor.

To reach the mirrored view the visitor ascends a small stair whose riser to tread ratio mimics that of the Rialto, simultaneously collapsing distance to one of the experiences of the view one is looking at.

We mapped a route through the “spaces between” that takes the visitor from the rear view window, out of the Palazzo, over the Rialto and to a traghetto on the Riva del Vin that will, in mid canal, deliver the Canaletto view, expectant for reproduction ( again ).  We drew the sections of the spaces between the buildings along the route where there were significant changes in proportion. 

ROUTE KEY
Black = solid containing the route in plan
White = the route itself
The grid dimension on plan = the size of the room in Palazzo Bembo that the project is installed in. A scale reference if you will.
Letters = the moment of a sectional projection

A: Room 1, Palazzo Bembo
B: Exit Palazzo Bembo, turn right onto Riva del Carbon
C: Continue straight under Palazzo Dolfin Manin
D: Turn right Calle Larga Mazzini
E: Continue to Campo San Salvador
F: Turn Left onto Calle Oro
G: Turn Left into Calle dei Bombaseri
H: Follow Calle Bombaseri
J:  Turn right onto Pescaria San Bortolomio up to the Ponte di Rialto
K: Ascend Ponte di Rialto on outer stair
L: Turn right into arch at peak of Ponte di Rialto – under central arch
M: Ponte di Rialto centre centre on the peak
N: Descend Ponte di Rialto down centre axis
O: Continue straight through Ruga dei Oresi to Campo San Giacomo di Rialto
P: Turn left onto Ruga Vacchia San Giovanni and continue straight
Q: Turn left onto Calle del Sturion
R: Follow Calle del Sturion
S: Under the building on Calle del Sturion
T: Turn right onto Riva del Vin onto the Traghetto: look to Rialto.

HUMAN SCALE NOTATION

The experience of dimension. If we use, not universal measures, but those of our own body how does this engagement in the process of measuring shift how we see ourselves in the city? We developed a way of measuring that calls on a physical action beyond the pressing of a “shutter” button and an act of imagination.

Our notation describes the containment of space using our human scale as the measure. It calls out for freestyle.
By using one’s own body as the unit of measure we have developed a way of making conscious the personal spatial relationship between our own dimension in relation to the surfaces that surround us. 
To notate this we use a method that describes the four planes around you in sequence: below, left side, above and right side. In the mind’s eye, how many of ‘you’ would span the space? How many of ‘you’ to reach the sky? Or how many of your family and friends?

We have left a note pad with sheets to tear off for the viewer to take with them. There are guidelines of how to notate and a call to action and share their own favourite ratios. The time spent visualising/measuring creates an engagement with where you are, and at that moment of recording we can fuse the writing of the notation with how it feels to be there. The result is a personal or familial notation of a sense of space expressed in proportionality. There will be moments along this route where occupation of the spaces will be at maximum density on the ground plane. We ask for an observation of the correlations between spatial ratio, width and reach of vista, pace and popularity; sense the importance of the relationship between the possibilities of emptiness and occupation in the spaces between.


From the Outside In


From the Inside Out


Engagement    Instagram @_the_space_between_


 

Return to top