Tea time!

Tea time!
 The project thematizes the relation between the public and the governement through the act of drinking tea.By establishing different microambients for tea drinking, and spatial relations, new forms of discourse are being incentivised, collective or intimate. These microambients serve as emblems representing different cultures significant to the history of tea, affirming the multicultural origin of British tea time.Together they comprise a pavilion. This pavilion, ortogonal in form, consists of lightweight wooden frames, that support diverse types of fabric, and draping typologies. The material and method of hanging that is used, signifies the culture that is being emulated. The pavilion is situated between gardens of tea, and spices, which are cultivated for small scale tea production and consumption. The complex aims to connect, educate, and stimulate the senses!

Why tea?
Tea time represents somewhat of a social phenomenon, as it is a ritual present in many cultures, across the globe.  The significance of this act lays in its ability to connect people, and enable exchange of information and experience.Sharing tea is regarded as a symbol of kinship The history of tea is a valuable topic to engage with because of what it can tell us about identity within  specific cultures, about their etiquette, early globalisation, class and status, as well as gender dynamics.  Therefore, tea can foster space for all types of discourse. Five cultures are chosen to be represented within the pavilion, those are Inidan, Chinese, Turkish, Russian, and finally English.The selection was made  with the idea of providing a varied experience. These cultures have long histories of tea consumption and rank highly on the list of average tea consumpiton by country.

Disposition and architecture
 The whole structure spands around 75m in one direction, and 51m in the  other. Two communicatons, that connect the individual pavilions, form axes and intersect at a right angle, enabling direct acces to every part of the structure and park. A simple modul of 4.8 X 4.8m was established, consisting of 4 wooden frames,and a board. The basic construction material is wood, the type can vary based on the culture being represented. The wooden frame system is also equiped with a glass panneling system that allows pavilions to be used even during winter months, therefore forging an all year experiense, accesable to the public. The design itself embodies a specific aesthetic that exudes a sense of airines  and invites natural light in, forming a space that is bright and filled with warmth, even open despite its size.

Landscape and plants
Since there is no tea time without the plant Camellia Sinensis and its variations, most of the landsape is decated to the growth and cultivation of this plant. Alongside the Camelia Sinensis plant, small garedns are dispersed althrough the complex. Some of which include mint, rosemary, rose, lavander, lemon grass, spice gardens (cardamom, ginger etc...). Users are encouraged to explore, sit among the greenery, and experience this complex not only through  the sense of sight, but by the senses of touch and smell. Many of these plants are invisioned to be used in the making of tea, later served, and in workshops held in the production centre.

 The programme
Besides the tea pavilions a production zone is formed, which facilitates  space for small scale tea production, storage. Amidst this zone, a space is designated for workshops and  interactive and educational events. Some of the pavilions can fascilitate similiar events. Throughout the central corridor informative plaquettes are exhsibited alongside  vintage tea sets, utencils, objects that pertain to the subject of tea history and culture
The pavilions
- Indian pavilion
The indian pavilion was inspired by tea street vendors, known as the Chaiwallah.  It was designed for brief stays, and on the go consumption. Two moduls form this pavilion, although solitary moduls could be placed throughout Hyde park. Every modul is equpied with a small central area, which is lowered 40cm, in which appliences can be positioned and tea can be made and sold. The fabric that is draped is Muga silk. This fabric can be embeleshed with traditional pattern. The silk itself is from the Assam regon where the Camelia Sinensis var. Assamica originates from.
-Chinese pavilion
The Chinese pavilion is situated near the centre of the main corridor, it consists of three spaces, onlooking a small lake. Every space is equiped with a system of rotating panels inspired bay chinese silk,paravans/screens. The rotation of these panels forms different typologies of space, from separe like configurations for two, to more open variations suitable for a party of people. These configurations of space allow different degrees of privacy. The panels are 80cm in width and 2,4m in height, with a metal frame dressed in silk
-Turkish pavilion
 The Turkish pavilion is a communal space, designed for gathering of several groups at once. Cotton fabric drapes from the ceiling, making the space open and warm, as light passes through. The floor is covered with carpets inspired by traditional turkish, these carpets function as moduls, on which up to 3 people can be sitted. Carpets can be easily moved and placed to someones liking, formin an archipelago of communication.
-Russian pavilion
The Russian pavilion is one of familial feelings, two moduls represent spaces in which tea is most commonly consumed in this culture -  the dinning room and the living room. A sense of privacy is provided by heavy curtains, draping from a additonal support frame. The pavilion is designed for smaller groups of people. English pavilion The English pavilion is based on the history of afternoon tea. Aiming to replicate and modify this social event, the pavilion is designed to be open for bigger gatherings. Two spaces, each comprised of two moduls facing eachother, Saten drapes hang from the frames, and enable closing off certain areas for more intimate gatherings of people. The pavilion is accompanied by a rosebush garden and an open chess area, as games were frequent pastime activities during afternoon tea.

The process
Much of the process was research. Accumulating knowledge about diffferent tea cultures was of essence so motives could be properly chosen. Also modeling and playing with fabrics, as well as sketching were crucial to the project.