ND Show piece; Wooden bike and

younger me.

Degree piece; Wooden clock

Fine art Degree show piece prototype; Mechanical clear acrylic spider.

For my fine art degree show exhibition in 2004 Simon produced Spiders. This instillation sees two clear acrylic mechanical spiders clawing against the gallery floor. The sculpture is acti-

vated on entry into the space as the rumble of the huge driving electric motor and vibration of high power lighting spring to life; it was simultaneously ethereal and horrific.

Previous kinetic sculptures included a wooden bike, fridge and clock. Mechanical hats, bikes

with wings, dissected (but still functioning) CD players and much more.

A small sample of the works produced by EMH Motors (Co-owned) and other subsidiaries, a virtual development company based in Second Life.

After graduation in 2004 Simon became involved with the virtual development company, EMH Group. In 2007 the subsidiary that He co-owned, EMH Motors, were the world's largest virtual vehicle makers, producing toys that con-

sist of 3D models with physics simulation (think computer games). A huge range of virtual solutions were developed for the business; copyright protection systems, business centres, clubs, houses and even a combat simulator.

In 2008 when markets suffered and copyright infringement became uncontrollable, the business became financially unproductive; it seemed the opportune moment to retrain in architecture.

How do you get through a crowded city centre with mini-

mum fuss?

Be the envy of all those people you would call your friends if only you

could socialise, wear a spiky colourful thing; Effecting crowd dynamics

much like mosses at the red sea, it also prevents shops prising your

hard earned cash from your hands and protects your identity converting

you into a big spiky colourful ghost, thing.

This proposal was developed as the first solo project on the architec-

ture degree. The brief; design a small transportable shelter to protect

from an unspecified influence, it must be deconstructable in order to fit

in the studio.

LDF Kiosk

The second solo project was to design a ‘art kiosk’

in a run down part of town. Simon chose Plymouth

City Council’s ‘Millbay and Stonehouse area action

plan’ as a catalyst. The final proposal takes the

form of a forum for the city’s development.

Touching the ground lightly

The Eco Hall project was a simulated live

project for ‘The Centre for Contemporary

Arts in the Natural World’ and the Forestry

Commission at Haldon Forest Park near

Exeter. The brief asks for a shelter for sym-

posium audience, group activities and the

general public. Later this proposal was cho-

sen for an exhibition at the park.

wind Temporary textile walls

Section 2

Section 1

Community

Monolith by Jean Nouvel, http://www.darkroastedblend.com/2009/03/biggest-diamond-heist-in-history.html Sky lanterns http://www.flickr.com/photos/dans180/3294461726/

Precedents;

VERTICLE TEAM PROJECT

The brief for this one week group mini

project was to develop a concept for a

migratory population in a strip of the city.

The context is a huge immigrant popula-

tion post global warming, our strip was

all water, and the gateway to the rest of

the mega city.

Leisure

Industry

Transport

Commerce

( Reproduction not to scale)

http://kashlaty.ru/news/2009-07-18-39

Sited in a heavily industrialised area of Plymouth the 1st years final project’s site has very little access. The scheme utilises Simon’s

own childhood memories of farms and orchards. All access enters on the second floor leading to walks across the orchard canopy and

through the dark fermentation hall with it’s looming shapes; the experience emulates a maze of sights, sounds and different spaces.

The design is a fantasy land, nostalgic and progressive, always suggesting a new corner to explore and a new route to take. The entire

proposal focuses on the sheltered orchard area a safe place for play and relaxing, it is park, cider garden and events location. The

main structure is timber clad in zinc, the flood defences and orchard walls are clad gabions which are seeded with grass decking.

1 Lift access from cliff

2 Raised walkway across

waste ground

3 Orchard walkway

4 Personal terrace

5 Stage

6 Jetty

7 Oil storage

8 Warehouse

1

2

3

4

4

5

6

7

8 9 Lobby & comns core

10 Restaurant

11 Kitchen (private)

12 Staff room (private)

13 Bedroom (private)

14 Staff bathroom & toilet

(private)

15 Office (private)

16 Lockers & corridor

(private)

17 Roof access (private)

18 Loading bay (private)

19 Visitor process viewing

20 Fermentation walkway

9

10

11

12

13 14

15 16

17

18

19

20

21 General store (private)

22 Workshop (private)

23 Processing (semi pri-

vate)

24 Fermentation

25 Bar

26 Bar store

27 Visitor toilets

28 The Orchard

21

22

23

24

25

26

27

28

Year Two saw the legal use of computers on the degree program. The first mini project was group research and supporting film, ours was called Peninsula. This to lead into a longer solo project that was to produce vessels on the site of a current boatyard in Stonehouse, Plymouth.

Click to view

Recommended listening; Panoramic by Atticus Ross.

Click to listen

[...]Burd mixed landfill dirt with yeast and tap water,

then added ground plastic and let it stew. The plastic

indeed decomposed more quickly than it would in na-

ture; after experimenting with different temperatures

and configurations, Burd isolated the microbial munch-

ers. One came from the bacterial genus Pseudomonas,

and the other from the genus Sphingomonas. Burd

says this should be easy on an industrial scale: all

that’s needed is a fermenter, a growth medium and

plastic, and the bacteria themselves provide most of

the energy by producing heat as they eat. The only

waste is water and a bit of carbon dioxide.

http://www.wired.com/wiredscience/2008/05/teen-

decomposes/

Opposition to un-Heimlich

ARCHO214– BA (Hons) Architecture -Y2 - University of Plymouth

Module leader—Adam Cowley-Evens

Simon Shillito 774343

12-01-2011

Click to view

Prologue

Martin Heidegger’s work has helped to form the acceptance of a different kind of academic

thinking; one based on instinct and feelings of dwelling. This essay is written from a phe-

nomenological standpoint. Not as an understanding of material and texture but as a poetic reflection.

…being in the cosmopolis (INTRO)

The philosopher Martin Heidegger paints a picture of dwelling1 and the domus. As a roman-

tic vision used by the Nazi party, Neil Leach supposes that Heidegger’s domus could be a

cause of the monstrosity perpetrated during the Second World War.

In the end of the essay by Leach titled ‘the dark side of domus’ is a proposition for an archi-

tectural mode for the cosmopolis; the solution to the Nazi ideal is offered as a new architec-

tural style for a city. This model is based on the idea that in a cosmopolitan society all are accepted thereby mitigating the rage inherent in the domus and Nazi nationalism.

“‘City life’ — the life of the cosmopolis — offers an alternative to the model of

the domus. “2

But it is just that, a model of the city and not the home. Where does the domus sit within the

contemporary cosmopolis? How does the individual identify oneself within the all?

[...]

1.

2.

3.

4.

6. 5.

Water colour + coloured pencil on paper Gouache, wax, charcoal +chalk on brown paper Indian ink on cartridge paper Acrylic + ball point pen on paper pencil on paper pencil on paper

Male Nude, charcoal on paper.

Sci-Fi engine. Digital cartoon screen play development,

‘Awakening’, Commission for EMH Group

Colour woman, acrylic & char-coal on paper.

Rock study; Pencil on paper digitally edited.

Clad towers, Oil and acrylic on Canvas

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

21 20 19 18

1 Timber composite cladding module sealed with synthetic resin 2 Nylon adjustable cladding mount 3 Damp proof membrane 4 Breather membrane 5 21mm Structural marine ply 6 Lightweight timber frame 7 PVCu Gutter with filter gauze 8 Mild Steel I beam 9 21mm Local white limestone laminated against 21mm marine ply 10 50mm Thermawool bat insulation 11 Internal finish; 15mm plasterboard & 2mm plaster skim 12 Triple glazed argon window in FSC seasoned European oak frame 13 FSC European oak hand rail 14 FSC European oak flooring 15 Services / sound insulation gap 16 FSC European oak kitchen work top 17 Hermetic seal level 18 Cold bridge / sound transmittance break: Rubberised bushel 19 Solid concrete block plant wall 20 Earth anchor foundations 21 Retaining concrete block wall

77-87 Houndiscombe Road

1:20 Section (On A0)

Click to view

Click to view

Parker VC

By The team,

Capita Symonds Architecture,

Plymouth.

Status; on site

Project Design & plan — Callum, Edd, Mike

A, Mike S, Rob, Simon & Everyone else —

Thank you

Poster Design—Simon Shillito

Model—Simon Shillito

Photo Montages _ Rob

Statue options—Simon Shillito

Statue Sketchup—Simon Shillito

Bronze (Reality & Sketchup) soldiers — un-

known

Granit Blocks — Found

This Portfolio is unaffiliated with Help for Heroes, Capita Symonds or HMS

Drake. Information is not representative of the final outcome.

3 Visualisations,

Karl Duvall,

Shove Media

1:200 Model,

Simon Shillito

Project Design & plan,

The team @

Capita Symonds Architecture,

Plymouth.

Poster Design

Simon Shillito

Visualisation,

Sketchup—Rob

Texture & lighting—Simon Shillito

Other works with Capita Symonds:

H4H Presentation Portal, initial and 2nd proposal

Community project, North Plymouth, initial Proposal

Revit BIM Modelling technician

Model refurbishment (physical)

Golf champion (cheat)

Click to view

Click to view

‘Touched’ Essay, Alver Aalto & hapticity.

‘The Phoenix unit’ Competition entry, Response to the 2010 Urban SOS competition.

BETA

The second unit in a series of developments, a chemical compound.

My particular field of interest is of phenomenology, evolution and emergence; tools for

the correction of the human condition and society or mealy irrelevant ideas born of na-

ivety and childish optimism? Either way, architecture offers us a unique platform to ex-

periment with these notions as immersive creation. The built environment alters behav-

iour and the psyche, but, can it aid us in doing so consciously and morally?

An architect is engineer and artist; we philosophise but always must work within the sys-

tems at large. As artists we compose engineered technological elements to create a

symphony that is otherwise intangible. As engineer we tinker, construct a physical thing,

improve upon it, and make it more efficient in its given role. As philosopher we decide

upon this role, attempt to define it; make it work within our social constructs. As part of

the larger whole we work within our conglomerate of working teams, economic and cul-

tural restraints, making the product perform with what resources we have and perhaps

producing new resources as the task demands.

In this process, style, both architecturally and graphically seems to be something that

evolves alongside function in each and every application. I would love to produce a

graphic that carries the viewer through space and time, as emotive construct, to an ex-

perience and understanding of place. Likewise, I dream of producing architecture that is

infinite, variable, organic and fluid, plastic and transient, that hints at so much more;

something to be read from multiple perspectives. But, always I negotiate back to the

same questions; do we need it and will it help? Is this just a fashion? Is this OK? Is it

responsible?

We fall upon a balancing act, on one side architectural convention and professionalism,

on the other individuality, of the dweller and self, architect and a marketable commodity

or ‘maker’.

It seems obvious that our time is a turning point; I wish to make the most of it.

Fingers crossed; our journey is just beginning.