academic | competition
ri ba part 1 arc h i t e c t u re
portfolio vol 1 1 0 .2 0 1 7
| artu r z akrz e wsk i
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artur mariusz zakrzewski artur.zakrzewski1992@gmail.com Polish, born 5th October 1992 Also known as Archie or Archibald My work follows themes of reinvention, experimentation and conceptual metaphors. I look for relevant references and concepts that are challenging and completely unique, with the ultimate goal to translate them into buildings and environments that work, inspire people and transform communities. I explore all the possibilities and constraints through extensive research to create a new understanding towards a better design solution. Through experimental and playful articulation of design concepts, I create possible scenarios through iterative process of virtual modelling.
e d u c at i o n
professional experience
The Bartlett School of Architecture - UCL
Heatherwick Studio
London, UK | 09.17 - 07.19 | Ongoing
London, UK | 07.16 - 07.17
MArch Part 2 Architecture Degree
Designer + Part 1 Architect
Unit 19 led by Mollie Claypool and Jeroen van Ameijde
Significant contribution to a re-designed Maggie’s Centre in Leeds being involved on the project at RIBA stages 2 and 3. Closed competition for
University of Portsmouth
the £190 million Phase 4 Redevelopment of Great Ormond Street
Portsmouht, UK | 09.11 - 07.14 | 3 years
Hospital for Children (GOSH) in central London with HOK and Skanska.
Ba(Hons) Part 1 Architecture Degree
Developed design of a confidential mixed use masterplan project in
Dissertation - Form Follows Fun(ction)- focused on importance of play
Japan. Conceptual design/study for a mixed use buidling in UK.
in architecture and applying the fun theory to eliminate bad habits Bishop Wordsworth’s School - Sixth Form Salisbury, UK | 09.09 - 06.11 | 2 years A-Levels Physics, Mathematics, Business Studies, ICT, Polish Language
KAMJZ Architects + Kuryłowicz & Associates Warsaw, PL | 07.14 - 09.15 | 15 months Architectural Intern + 3D Architectural Visualiser + Graphic Designer Conceptual and developed design of numerous international award winning competitions in the fields of both architecture and urbanism at various scales and programs. Most of the projects completed at schematic
additional experience Architectural Visualisations FRAME Studio | 03.16 - Renovation of a Urania Sports Hall in Olsztyn Private Client | 04.16 - Passive House Builder/Maker | 02.16 Private client - house renovation: plastering, filling, painting Architectural Mentor | 10.13 1 month long, weekly workshops at Priory School in Portsmouth,
design level in a fast-paced work environment.
Plus 3 Architekci Warsaw, PL | 06.13 - 09.13 | 3 months Architectural Intern Internship secured as part of Erasmus programme providing opportunity to experience working in an architectural practice. Conceptual design of an international competition Europan E12 in Baerum. Detailed design of a residential building in Warsaw.
introducing year 9’s to architecture and design Student society vice-president at Article 25 | 10.12 - 05.13 Article 25 Student Chapters raises awareness amongst students of the role of design skills in the international development sector Co-founder of the Double Full Screen | 2011 Experimental thought society and a catalyst for architectural speculations finding questions and answers through research and reinvention of existing infrastructures. Group was founded to discuss real and hypothetical problems and to pursue architectural competitions. Workshops
skills 3D Modeling, 2D Drafting & Scripting Rhinoceros 5.0 with Grasshopper, Autodesk: Revit Architecture, AutoCAD, 3ds Max, SketchUp Digital Image & Rendering Adobe CC: Photoshop, Illustrator, InDesign, Lightroom, V-ray and Maxwell Physical Modeling
The Observatory - 2 & 3 November 2013 | Together with a small group of
3D printing and laser cutting file preparation, EPS foam cutting,
Portsmouth University representatives I took part in the finalisation of the com-
handcrafting of foam board and balsa wood, concrete casting
petition brief for a competition - The Observatories: Micro Living for UK Artists
Languages
Paul Stevens Architecture - April 2011 | Intro to Architecture - Work experi-
Polish (Native)
ence program familiarizing with different aspects of working as an architect
English (Fluent)
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including basic CAD work and attending meetings with clients.
| proje cts |
a b r i ef jo u rney
gli tche s from na rn ia
pedal powered coa s t e r | co mpet i t i o n
pavili o n gat e | co mp e t i t i o n
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o uro bo ro s
coma garage
t he mus eum of c api talis m | co mpet i t i o n
M O D U LA R P H I LH A R M ONI C | co mp e tition
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wall
e xplosi on
Sus tai nabilit y cent re | acad emic
co mmu n i t y c e n t r e | ac ade mic
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c on t e m p o rary c as t le
Hi tman’s hi de out
boatya rd | acad emic
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A BRIEF JOUR NE Y | p e da l p o were d coa st er os lo, norway
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A viewing deck A Station
An induction space
A tower
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A BRIEF JOUR NE Y | p e da l p o were d coa st er os lo, norway
In order to engage the sustainable agenda with the public one approach to consider are opportunities which take of advantage of existing infrastructure. Whilst a considerable pressure today in on bicycles in our urban environments some cities are unable to integrate the bike culture due to certain obstacles such as terrain and economy.
The pedal coaster is an avant garde Victorian solution finally realised due to long standing advances in lighter materials. By combining the system with standardized scaffolding parts typically used in festival architecture, the pedal coaster challenges conventional forms of transportation in it’s experimental, health efficiency and sustainable qualities. The coaster liberates the user from the ground floor plane avoiding pedestrian traffic and providing a series broader festival views. The track structures emit a spectrum of colours at night, orientating the entire festival through a series of meeting points. When festival finishes the entire installation is dissembled and pragmatically re appropriated to other sites. The system becomes a universalized solution to the evolving urban realm.
A generic cube made from scaffolding is pragmatically programmed to the specific
site constraints and orientation through simple subtractions and tensile fabric units. Circulation is supported through enclosed rope netting. The scaffolding is re-used in simplistic triangulated structures which help support the pedal powered carriages and tracs. The minimalistic design is inspired from generic electricity support structures. The pedal powered track system uses human powered energy to push the carts between destinations. Users experience a transportation system which is more efficient than conventional biking and offers incredible views of the festival.
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Components Four tensile fabric volumes are suspended in the cube; an induction space, a station, a viewing deck and a tower. Each volume connects to the other through climbing netting forcing users to climb and interact with structure.
Concept model
Interactive spaces
Double height voids
Circulation nets
architecture beyond form The stations reflect the coaster support structures in material construction. As an architectural object the large structure straddles the road, creating a porous junction, with shelter from the rain and swing seating for social interaction. Four tensile fabric volumes are suspended in the cube; and induction space, a station, a viewing deck and a tower. The floating forms become beacons at night illuminating a large public space.
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Stations become beacons for people to gather and connect.
a ghost in a cage The diffusion of light corrupts the membrane form disguising the literal and holding the subject in a state of indeterminancy. The phantom like, fabric units contradict their harsh scaffolding cage in which they are held within. The units serve as beacons for people to gather and connect. In unsuspecting moments, the human propelled carriages are cut through the night demonstrating unforseen connection to other realms.
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g litc he s from narnia | pavi l ion g at e Stockholm , sweden
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Stretched tunnel
Exit wardrobe
Entrance wardrobe
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g litc he s from narnia | pavi l ion g at e Stockholm , sweden
In ‘The Chronicles of Narnia’, a series of seven high fantasy novels, the Wardrobe was a magical portal in Professor Kirke’s House that linked Earth through to the world of Narnia. A fantasy world of magic, mythical beasts, and talking animals.
Social media has created a generation of individuals who now believe that every present moment needs to be experienced as something that will be reflected upon later. Professor Daniel Kahneman refers to it as the ‘Instagram Generation’, which experiences the present as an anticipated memory. Instagram became a tool for us to digitally mould our memories, to pick and choose the experiences we want to remember and share with others.
The competition was to design an entrance gate for Järfälla’s Public Park. The public park has for decades been one of the central social structures in Sweden. In the 80s these kinds of parks were largely replaced by socializing while shopping, and today this type of community building takes place on the internet. Structures that marked the entrance to these parks were used as a social gathering space. Thus today, they have to become a crucial step in defining the public park in the time of constant connectivity and social media.
To revive and update the social benefits of the public park into a model for our current
screen epoch, the entrance gate to the Folkets Park has to become a local icon, a place to ‘check in’ and to take a ‘selfie’ with friends. A model of a standard size wardrobe is oversized and duplicated to create entrance doors at both sides. A distance between wardrobes is ‘stretched’ to create a glitched tunnel. As social media affects our self-esteem, would the idea of having a likeable photo would be enough to revisit a public space?
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Parametric structure Exterior skin is cladded with charred pine wood, a durable and eco-friendly vernacular material representing the past.
Interior tunnel is cladded with fibre-reinforced plastic, a modern material representing the future. Interior panels illuminate at night creating an inviting beacon of light
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O uroboro s | t he m useu m of c apital ism Coney Island, New york, usa
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Roller Coaster Loop
Inner Pool
Existing Coney Island Pier
Extension of Coney Island Pier
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Ouroboro s | t he m useu m of capital ism coney island, new york, usa
‘‘This smacks of the basic, insidious mechanism at the heart of consumerist capitalism: It feeds on its own excesses, the snake eating its tail. It promises to fulfill our every need, but instead, multiplies our needs ad infinitum. ‘‘
An institution dedicated to educating this generation and future generations about the ideology, history, and legacy of capitalism will be located at Coney Island, also known as ‘America’s Playground’. A place that represent the excesses of capitalism, hedonism and urban decay.
The physical form of a museum represents capitalism as a snake eating its own tale - Ouroborosa symbol of cyclic nature and creation out of destruction. The fundamental impulse that sets and keeps the capitalist engine in motion comes from the new consumers’ goods, the new methods of production or transportation, the new markets, the new forms of industrial organization, that capitalist enterprise creates. This process of Creative Destruction is the essential fact about capitalism. Constantly destroying the old one, constantly creating a new one.
Physical domain During the era of industrial capitalism, machinery was the means of production and the most important assets were physical and financial. The first roller coaster built in the United States, Thompson’s Switchback Gravity Railway, was opened at Coney Island in 1884. Since then, roller coaster is associated with a way of breaking an individual out of the monotonous routine of everyday life and bring collective of people of different generations together. Visitors of the museum would be drawn to experience capitalism using an amusement ride. The coaster acting as an instrument of mass exhilaration, would form a loop around museum spaces and allow riders to share the thrill and adventure of this extreme teaching experience.
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digital domain We stand on the brink of a technological revolution that will fundamentally alter the way we communicate, create and explore. Entering the postcapitalist era that will blurr the lines between the physical and the digital capital. We will no longer need physical objects, such as televisions, gaming systems, music players, desktop computers or even cosmetic objects like wall art but instead they will be projected into our field of perception as strictly digital entities. The future of consumption is expected to radically shift from physical manufacturing to virtual entertainment content.
Hence all the events, exhibitions, preserved material evidence, art, and artifacts related to capitalism would be presented as a computer-generated sensory input in the physical space. The entire museum would be 3D mapped and virtual nodes would be attacheded to physical location within the tunnel. Visitors of the museum would wear a headset with transparent lenses which would offer a mixed reality, where interactive digital objects are laid over the physical environment around them.
longitudinal section
Suspended rail track with seats
Parametric shell concrete structure combined with a space frame system
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coma g arage | mo du l ar p h i l h ar m oni c Ceske Budejovice, Czech Republic
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Public green roof
Community hub
Open air stage
Variable philharmonic hall
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coma g arage | mo du l ar p h i l h ar m oni c Ceske Budejovice, Czech Republic
To explore modular technology and its limits, the building emerges entirely as a series of 9x3 meters modules. The large scale structure is modulated by its contrasting volumes. The lower volume is cladded with corten stee, while the semi transparent upper volume is cladded and structurally supported with black steel.
It is the ideal venue for live music, comedy, poetry slams, small theater and dance performances. To focus on younger audiences and the broad public, the centre also offers variety of extra curricular activities, such as private music, art and design teaching classes.
Amphitheater Parking is located next to tr. 28. rĂjna Street for the easiest vehicle access. Amphitheater located at the northen part of the site is sheltered with the existing buildings hence achieves better acoustics. The philharmonic building is placed in the middle of the site to distinguish itself from surroundings by creating a visual connection from every angle around the site.
Lower Volume Consists of the main variable hall and complementary spaces, as lobby, shop and toilets. Entrance is located at the south side, opening towards the old town. The kinetic elevation allows for an interior stage to be accessible from both outside and inside depending on the event.
Upper Volume Consists of two floors. One acting as a background for an orchestra with philharmonic’s offices. Second offering visitor amenities and acting as a community hub and centre for music and arts. Both floors are connected together with a double height common room.
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multi purpose spaces Seats from the main hall can be put away to the storage to turn the space into a dance floor. Main stage can either act as an interior stage for the hall or exterior stage for the amphitheather, due to kinetic elevations that can open and close either from an inside or an outside. A huge staircase in the common room is also used as seating area, so the entire room can be used as a performance space. Common room can also act as an auditorium for the public or rehersal room for an orchestra. Variable Hall Multi-purpose variable hall consists of 990 seats. 580 seats at open balconies, 40 vip seats at closed balconies and 370 seats at the main floor.
Common Room Double height common room also acts as a local community centre, consisting of multiple seating spaces, library, computer room and sanitary instalations.
Open Air Stage Open courtyard acts as a lounge bar and is a part of the restaurant. Its small open air stage can be used for poetry slams, recitals, local gigs or dj sets .
To attract those visitors who have not yet identified any interest in classical music, a new multi-purpose building of the philharmonic orchestra is proposed as a dynamic community space which hosts a wide variety of performing arts, regular community events, and independent films. Additionaly, visitors can also access a green roof above and enjoy the view of the city.
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variable hall Multi-purpose variable hall consists of 990 sitting places. 580 seats at open balconies, 40 vip seats at closed balconies and 370 seats at the main floor. Seats from the main floor can be put away in the storage to turn the space into a dance floor. Main stage can either act as an interior stage for the hall or exterior stage for the amphitheather. Due to kinetic elevations that can open and close inside and outside.
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common room Multi-purpose common room also acts as a local community centre. A double height space consists of multiple seating spaces, library, computer room and sanitary instalations. A huge staircase is also used as seating area so entire room can be used as a performance space. Common room can also act as an auditorium for the public or rehersal room for an orchestra.
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wall | su s tainabil i t y cent re chichester, england
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Solar panel roof
Upper Level Apartments
Ground Floor Services
Basement Exhibition
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wall | su s tainabil i t y cent re chichester, england
A wall is one of the most fundamental elements of architecture, the most basic form of a spatial divider. A single wall severs, interrupts, opposes and violently alters the site on which it is placed.
Project proposes a long wall, a barrier that cut through urban fabric, an intervention designed to seperate a city life from a forest, a symbol of nature (sustainability). Walls encloses and protects this zone to retain its integrity and to prevent any contamination from outside world. At present day, projects that label them足selves as sustainable architecture, they are just that: firstly sustainability (technology) secondly architecture. The architecture exists only at the mercy of the tech足nological achievements of engineering and better material solutions. Sustainability per definition today can be consid足ered as a technology, running water or electricity, a set of certifications and material specifications that veri足fy the social conscience of client and architect. As we today take it for granted that there is running water and electricity in any building, this is not considered a feat of architecture but merely a mundane technological commodity that the architects obviously takes into account but in no way governs design decisions relating to form.
The idea of sustainability centre was to create a harmony between nature and
technology in an interated urban form. The apartments are stacked on top of each other, while the commercial program unfolds at the base of the building. Due to level change along the site, different ground floor levels have achieved a quality of their own. The apartments benefit from sunlight, fresh air and the view of a forest, while the offices and shops merge with life on the street. Typology inspired by a local vernacular architecture.
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demolition & extension of the site Existing building complex adjacent to the site is demolished. A floor area of an office building and three houses will be added up to a new proposal. The building plot and a car park behind the complex become an extension of the site.
Maximum green area & building volume Extruding one volume on the edge of the site generates space for a public park and recreational areas. 12 meters wide strip consists of four levels. Ground floor commercial program, offices and sustainability centre and three floors of apartments stacked on top of each other. Building acts as a wall dividing nature from the city, maximising the size of an inner courtyard.
building adaptation & destination Building is pushed back into the site in order to fit the program on to the site. As a result it creates a series of public areas and interesting and unique spaces. In order to fully enclose the courtyard, proposal wraps around the edges of the site while existing residential buildings enclose it from the west.
porosity & new context Porosity is applied to a street facade in order to distinguish each bedroom individually from the building volume. Street is narrowed and turned into a promenade used by both people and cars, leading towards the new basin which shape corresponds to the building. Inner courtyard becomes the forest.
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the cabin in the woods Since the year 2000, for the first time in human history, more people live in cities than in a rural situation and the global urban population continues to grow. Cities are responsible for using 75% of all the worldĘźs energy and for 80% of greenhouse gas emissions, and they are generators of pollution and waste. Yet cities are a key to sustainable living, they showcase sustainable transport solutions, they explain the relationship between city, landscape and nature, and they provide answers to the problems of water and waste management as well as innovative city-wide energy solutions.
A cabin in the forest is the perfect setting to escape the hustle and bustle of
everyday life; to experience the peaceful serenity of the forest to nurture the soul. Revitalize oneself in a place where time stands still. Although at present day not many people can afford to live in or own a cabin.
The extensive functional requirements made the wall to writhe like a snake around
the L-shaped site enclosing and creating a courtyard together with surrounding buildings. This created informal spaces as outdoor cafe space or wooden plaza. Courtyard would act as a forest hidden in the city which can be seen from apartments’ living room- the symbolic cabin in the woods.
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sustainability centre The Centre’s aim is to bring academic and industry expertise to the wider community by providing sustainability education and training programs for individuals, organizations and local communities. It serves as a catalyst for empowering people and mobilizing ideas. Centre consists of an long exhibition tunnel, which demonstrates firsthand the remarkable systems and technologies that are employed within the building, and the lecture theather at the end of the tunnel. The idea of placing sustainability centre came from the following references: Giant Crystal Cave Is a cave below the surface in Naica, Mexico. The main chamber contains giant selenite crystals, some of the largest natural crystals ever found.
Centre Pompidou A complex building in Paris, near Les Halles, designed in the style of high-tech architecture by the Richard Rogers and Renzo Piano.
Google Plex’s Data center Google owned and operated data centers will lead the industry in environmental protection, pollution prevention, health, and safety.
Building demonstrates firsthand the remarkable systems and technologies that are employed to reduce its carbon footprint and ensure its environmental credentials over the long term, such as rainwater harvesting, solar heating and automated building management systems.
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Secondary staircase and lift
Entrance to cineama
Banquet hall
Lecture theather/ cineama
Concrete pathway
Circulation elements and devices for safety are red
Electrical wires are encased in yellow
Mirrors clad the walls, floor and ceiling
Blue ducts are for climate control Exhibition stand
Green pipes are plumbing
Entrance door Toilets
Entrance staircase to the basement Lift
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infinity tunnel By cladding the basement with mirrors wall-to-wall and floor-to-ceiling, the exhibition space achieve the effect of an infinite space. Unlike a standard exhibition it has the power to completely immerse a visitor in something that would otherwise have no use in their normal day life. It revolutionalizes the idea of art in sustainability by adding another dimension of experience and challenges people’s perception of typical building management systems as mind-bending pieces of art.
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All of functional elements of the building are colour-coded: green pipes are plumbing, blue ducts are for climate control, electrical wires are encased in yellow, and the red are circulation elements and health and safety devices.
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EXPLOSI ON | c o mmuni t y cent re portsmouth, england
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White acrylic paint finish 200 mm laminated softwood cross-boarded 90 mm polystyrene rigid-foam insulation 75 mm battens with ventilated cavity 18 mm brick slip
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EXPLOSI ON | c o mmuni t y cent re portsmouth, england
The UK is the seventh richest country in the world. Yet at the same time, millions of families across the UK are living below the breadline. This shocking scale of food poverty in Britain meant that more than 900,000 people were given emergency food in the past year, an increase of 163 per cent, according to figures from the Trussell Trust, the biggest food bank charity.
Food poverty means that an individual or household isn’t able to obtain healthy, nutritious food, or can’t access the food they would like to eat. Despite increasing choice and affordability of food in the UK, many people eat what they can afford, not what they want. This often results in people eating poor diets, which can lead to heart disease, obesity, diabetes and cancer, as well as inadequate levels of many vitamins and minerals. Obesity is now as much a sign of poverty in the rich countries, as hunger is in poor countries.
This shocking scale of food poverty in Britain meant
that more than 900,000 people were given emergency food in the past year, an increase of 163 per cent, according to figures from the Trussell Trust, the biggest food bank charity.
This explosion in demand has coincided with an increase in those seeking help
following a benefit sanction, static incomes, rising living costs, low pay, under-employment and other problems related to welfare. Food Banks have become more active in their original role of promoting social integration and social inclusion. But to move towards a more effective set of responses, we need to conceptualise the problems. New food banks should help to stay in shape, learn new skills, and meet new friends with activities in fitness, arts and crafts, culture, and more. Be the first step towards social inclusion. New building will include five main spaces based on a regular grid but to break the symmetry my personal finger print was used to create irregular plan and give an ‘explosion’ effect for the entire building.
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functional requirements In order to minimize the cost of workers on the construction site while simultaneously ensuring the highest quality of construction, the building would be constructed using prefabricated parts. CLT panels would be pre-fabricated and routed using CNC technology and delivered to the site. Building then would be clad in burnt brick to give a feeling of an exploded ruin linking to original concept of an explosion, while the interior in contrast would be painted white.
The building itself is a cluster of four irregular volumes acting as seperate buildings,
with a dinning space (1.5) in the middle creating a central community hub. Two main entrances (1.1 and 1.3) are located on north-south axis and two secondary entrances (1.4 and 1.5) on east-west axis. This would create a feeling of openness inviting visitors from “the four corners of the earth�.
Reception (2.1) is located by the south entrance connected to the Staff Shack
consisting of office spaces (2.2, 2.4, 2.5), toilets (2.3, 2.7), laundry room (2.7) and conference room (2.8). Teaching Shack offers IT class (3.1), arts and crafts class (3.2) and a meeting room (3.3). Culinary Shack has a meeting room (4.1), culinary class (4.2), main kitchen (4.3) and a counter (4.4). Food Bank Shack consists of a donation receiving area (5.1), storage (5.3 and 5.4), packing area (5.5), delivieries dispatch area (5.6) and a personal pick up point (5.2).
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3.3 4.1
1.3
3.2
4.2
3.1
4.3 4.4 1.4
1.2 1.6
5.6
2.8 1.5
5.5 2.7
5.3
5.2
2.3 1.1
2.1
2.2
5.4 5.1
2.6
2.5 2.4
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CLT STRUCTURE 18 mm brick slip 55 mm battens/ventilated cavity 90 mm polystyrene rigid-foam insulation 200 mm laminated softwood cross-boarded element with white acrylic paint finish 18 mm brick 55 mm battens/ventilated cavity 200 mm polyurethane rigid-foam insulation to falls vapour barrier 200 mm laminated softwood cross-boarded element with white acrylic paint finish 90 mm gray cement-and-sand screed,sealed 30 mm impact-sound insuation around heating pipes 98 mm polysytryne insulation slab 250mm reinforced concrete base slab 80mm expanded polysyrene insulation 100mm bed of gravel
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Most deprived areas in Portsmouth
the thumb of god The project site is located in the heart of Portsmouth near the Hard, which lies within some of the most deprived areas of Portsmouth. The design brief is to provide a new community facility, which includes a food-bank and soup-kitchen. The facility is being funded by the National Lottery and Portsmouth City Council, whilst operating as a soup kitchen in the evenings, the main dining space will also provide community uses throughout the day to generate an external income.
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CO NTEMP OR A R Y c a s t l e | boat yar d portsmouth, england
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BAILEY - Conference room
Entrance to secret tunnel
MOAT - Camber Harbour
BRIDGE
KEEP | Boatyard
GREAT CHAMBERS - Offices
GATEHOUSE - Entrance Shop Toilets GREAT HALL - Cafeteria Kitchen and storage
CURTAIN WALL - Boat storage
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CO NTEMP OR A R Y C A STL E | B OAT YAR D portsmouth, england
Bodiam Castle is often portrayed as ‘the perfect English castle’ - a jostling crowd of tall, grey stone towers protected by square battlements, secured with a round drum tower at each corner, and wrapped in a reflective moat.
A dockyard has existed at portsmouth harbour since the 12th century, and by the nineteenth century Portsmouth dockyard was one of the largest manufacturing industries in the world, with the vagaries of warWWW and politics determining the cycle of manufacture, repair and adaptation of vessels for fighting, imperial control and transport. The project is located in an area of Old Portsmouth known as the Camber, originally a sand and shingle bar which formed a natural harbour. Present-day Portsmouth owes its existence to the Camber, which in prehistory provided shelter and food for its ancestors. Throughout history Camber Harbour has been a busy, well protected port and the site and its surroundings have been a dockyard, a fishing harbour, a coal depot and an array of warehouses.
Due to specific history of the site and its proximity to historic dockyard and Her
Majesty’s Naval Base, naturally an idea of fortified boatyard occured. The word castle is derived from the Latin word castellum which is a diminutive of the word castrum, meaning “fortified place”. Castles served a range of purposes, the most important of which were military, administrative, and domestic. A new Boatyard would act as a Contemporary Castle, translating the common features of a castle into specific functional requirements of the boatyard.
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MONUMENTAL ARCHITECTURE A various functions are built around the outer ‘defensive walls’ in the u-shaped plan. The boatyard sits roughly in the middle of the moat within the walls, which prevents ‘attackers’ from gaining access to the base of a ‘castle’. Display is an important aspect of the design, the moat isolates the boatyard and makes it appear larger and more impressive. The main entrance, a gatehouse, on the south side of the castle is connected to the boatyard by a static concrete bridge, which reveals itself during a low tide.
An aesthetic appearance has become as important as more tangible properties like
strength, durability and watertightness. From a technical point of view concrete became the obvious choice. But also striking visual raw representation of concrete allowed a to create a highly expressive form contrasting dramatically with the highly refined wooden interior.
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Tidal range - the Unveiling ceremony Visitors are welcomed to enter enter the boatyard only at specific times of the day as the bridge reveals itself only during a low tide. This creates a welcoming gesture, acting the same way as a king invitation to the main body of the castle. Gradually as a water level drops down, visitors can watch the bridge slowly unveiling itself. At a certain tide level visitors are safe to cross a bridge and enter the castle’s ‘Keep’. After the tour when the tide is rising, visitors exit the boatyard safely using an underground secret passage which leads underneath the office spaces. Visitors can then use a staircase or a lift to arrive at the reception desk.
Boat storage also uses a tidal difference of 2m. When the tide drops, a floating
planks with boats resting on them lower together with the tide. This way a boat always stay at the same level with the tide, making it easier to take a boat on and from the water.
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Low tide
High tide
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The Warmth of Wood Wood is a naturally versatile material, filled with visual and tactile variety. Usually it is used for floors or ceilings or walls – but rarely all of the above at the same time. Wood provides excellent insulation, both thermal and sound, due to the impressive vibration absorption characteristics of wood.
The eye finds few places to rest in this dynamic composition and everything stands
out in sharp relief against the variegated-but-uniform background. The hard lines of the wooden walls are contrasted against the black metal elements, which can be found inside a every boat, such as a ship’s wheel. The natural wooden finish of the interior of a yachts inspired the interior design of an office space. Tourists visiting boatyard would get a feeling of being inside a boats’ wooden hull.
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hitman ’ s hi d eout | h o l e in a g round concept design, imaginary location
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Secret room
Hidden door
Entrance
Secret passage
Shower room Toilet
Living space
Bedroom
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hitman ’ s hi d eout | h o l e in a g round concept design, imaginary location
“I create enclosed spaces mainly by means of thick concrete walls. The primary reason is to create a place for the individual, a zone for oneself within society.” - Tadao Ando -
Agent 47 (known as The Hitman, Mr. 47, and just 47) is a fictional character and main protagonist of the Hitman video game series released by IO Interactive. HE is a highly trained assassin, consistently recognized as the world’s deadliest, most discreet and skilled assassin ever.
Design features two spaces, a living area and a secret room, placed in two extremities of the building separated by a set of stairs, and a double circulation corridors. By placing an entrance staircase in the middle of the plot it allows to create a circulation loop, needed when a house is invaded by another assassin.
Walls have the power to divide space, transfigure place and create new domains.
Walls are the most basic elements of architecture, but they can also be the most enriching. A domestic space, ordered and structured by the grid is fully open and looks towards the circulation corridors. This creates an openness and transparency, allowing to observe the entire space from the sitting area. The secret room can be entered from both a hidden passage and a secret door embedded on to the wall. It is the most important space in the hideout where Agent 47 plans his next assignments.
Aim was to limit materials, simplify expression to the maximum, eliminate all
nonessentials, and in the process blend the human into a space. By reducing style to the utmost it produces a maximum effect of equilibrium.
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1:50 Model
Through Light and The entire form is buried into a ‘hole in a ground’ in order to disappear within the landscape. Careful manipulation of light, brightens the specific spaces of an apartment. Living space receives the light through out the whole day while the bedroom only receives the morning light through the skylight windows. An open courtyard space harvests the rain water.
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“Work? It’s just a serious play.”
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