Confucius Institute Redcliffe Wharf Bristol Anastasia Angeli 1
Introduction The scheme for Redcliffe Harbourside, Bristol is aiming at creating an active, future-proof urban cultural hub that would encourage social interaction, curiosity and diversity. The Confucius Institute lies in the heart of the scheme, which would unite local and wider community through culture and handcraft, Chinese paper folding in particular, forming visual and conceptual aesthetics of the project, which are explored in the following Portfolio.
Contents
History and site analysis Masterplan Confucius Institute Orthographic drawings Unfolding the scheme References Appendices and process work
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History and site analysis The site for the Confucius Institute in the UK is the city of Bristol - a strategic location for England, considering its central location between key cultural hubs at a national scale and at a regional scale, centrally located between active nearby towns, resulting into Bristol becoming a port city, ship building and trade being one of the city’s past and aesthetics.
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Locating the scene The history of the site dates back to 12th century. Redcliffe Wharf has three derelict buildings remaining in the South- East corner which have been built in 17th and 18th centuries (Development Control Committee, 2017). The site includes several listed structures including the Grade II Wharf Wall and Bollards/mooring posts. It is located within the Redcliffe Conservation Area which means that the area is sensitive to change, considering that the site also includes significant archaeological findings (2017), which is shown in the analysis section earlier in the document. The site had an important role as a part of the historic docks, but during the last 40 years has suffered from constant change of temporary uses (BCC, 2006), including: warehousing, stable, ship building, glass making, earthenware manufacture,residential use and a car park.
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Bristol located at different scales
Considering the primary use of the scheme - centre for Chinese Culture and Language, it is useful to have it located in the city which could be easily reached by people visiting from far and also by the locals, which brings it back to the local level. On an aesthetic level, this particular site for me had a big potential in terms of views from the site that I felt would add to the experience of the user of the Confucius Institute.
Initial site analysis video can be accessed through the QR code or directly from the pdf document
Sketch over the photo of Redcliffe Wharf
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Bristol as a growing city
Urban Pattern
As can be seen on the diagrams below, the area of the development started to become urban only towards 17th century, taking up a compact pattern and growing from the west towards the east, where the city centre is currently. The Second World War had a big effect on the city - not as much the bombing but the development that came after it, including expansive infrastructure works that have divided city and had an impact on green spaces and pedestrian permeability of the city.
Vehicular movement
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1740s-1800s
1820s
Bristol is relatively young as a city and its urban pattern has started to emerge only around 18th century. Some of the key roads created at that time have traces in urban fabric until today.
By the end of the 19th century fine grain urban pattern has been introduced into the area. This feature of Bristol is something that is expected to be brought back into the contemporary urban fabric (City Design Group, 2018).
1890s-1930s
1940s
2010s
Introduction of the railway into the area started to change the dynamics around the area, creating new links and connections at a regional and national level.
After the second World War the dual carriageway across Queen Square was introduced. It is only then when Redcliffe Bascule bridge was built, connecting the Old city with Redcliffe.
Traffic flow has moved to other city locations, hence the Redcliffe Way was downgraded as a priority. However, infrastructure has already been introduced, making vehicular movement a prioritised mode of transport for the area.
(Original base maps retrieved from English Heritage, 2016) 9
History of Redcliffe
Historic photo of the site in context
The settlement at Redcliffe was founded by Robert, earl of Gloucester in the early 12th century. Redcliffe formally became part of Bristol only in 1373 (BCC, 2006, p. 13) and became a wealthy trading area due to the cloth dying, metalwork and leather working industries, making traditional use of the land industrial. Trade has been a major part of income of the area since 16th century, including trade of the sandstone taken from the Redcliffe caves. The slave trade has also been part of the Redcliffe history. Wealthy merchants were living primarily in Redcliffe Parade. This was adjacent to the poor housing, provided for the workers behind the main streets. Redcliffe went through a major redevelopment after the second World War with new industry introduced, infrastructure and waterways. The New Cut was developed which separated the area from Bedminster. Introduction of the Tramway has split Redcliffe even further, creating a physical barrier between different areas. As the port industry has moved away from Bristol, Redcliffe went through a major decline with most of the industry being closed down. Another use as a leisure quarter has started to gain more weight with establishment of Arnolfini in 1975.Transition from the barren warehouses into high-end apartment quarter has begun from 2000s (BCC, 2008). What became relevant for this specific scheme was the fact that St. Matthew ship has been built on site as it previously was serving a boat building use for the port city of Bristol. Since 2013 and till today Redcliffe Wharf has no use other than serving as a passage from the Redcliffe Bascule bridge or the roundabout to the Redcliffe Parade or towards the Bathurst Basin (Development Control Committee, 2017).
Part of the group work research 10
(Tarring Collection. St Mary Redcliffe from Prince Street Bridge, c.1935)
Character Appraisal The area of the proposal has been analysed from a variety of different perspectives to get a comprehensive understanding of the site and its context. Second-hand research has been undertaken, including looking through the Character Appraisal (BCC, 2008), followed by first hand analysis by making on-site observations and gaining insights about the area by interviewing locals. The analysis was then put together into a SWOT format, identifying key aspects and helping form a strategy for the scheme.
Landmark buildings and views
Important surfaces and trees
Landmark buildings - Listed and those on Local list (BCC, 2008) - have been identified in order to make sure that they are preserved and their environment is enhanced as required by the Supplementary Planning Document 3 (BCC, 2006). The development area is located within two conservation areas (English Heritage, 2016). It is not only the urban fabric but also key views that are encouraged to be preserved and enhanced.
Important surfaces and trees outlined by the Bristol City Council (2008) will be kept in order to make sure that the character of the area is not lost. Importance of keeping the identity of the area is acknowledged not only by the national and local guidance (NPPF, 2018 and Future of Redcliffe, 2006) but also by theorists, like Kevin Lynch (1960) and Jane Jacobs (1961).
Intimate spaces and green areas
Archaeological sensitivity
The amount of green areas in Redcliffe which are currently not being used is surprisingly large. This is a result of those spaces not having a reason to be in or simply no accessible way into them. This could be improved by changing infrastructure on site and introducing new functions onto the site.
The fact that North Redcliffe in particular has precious archaeological assets underneath the ground level, including Redcliffe caves (BCC, 2008), could potentially make the development more difficult to go forward. However BCC sees the value that the new development would bring into the area (2008).
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Movement patterns
Pedestrian flow current
Currently movement in the area looks like shown on the top diagram, its main characteristic being rectilinear. This is a result of vehicular movement being prioritised and a lack of active uses in the area. Changing the streets can change feeling of the space and make it feel more alive, welcoming, accessible and safe (Jacobs, 1961). Hence, the aim is to create a ‘hub’ that would bring live onto the area and make the movement pattern feel more like the bottom diagram shows. Movement patterns, however, need to be kept clear and legible as well as active and alive. The values of legible environment include ‘emotional satisfaction, the framework for communication or conceptual organization, the new depths that it may bring to everyday experience’ (Lynch, 1990, p. 5).
Pedestrian flow - vision
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Key urban fabric features
Model used as a base of the diagram was a part of a group work
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SWOT Analysis Strengths 1. Thriving Harbourside location – active throughout the day 2. River views, linking the site to different city locations and vice versa 3. Queen’s Square nearby, providing a buffer between the site and the busy city centre 4. St. Mary’s Redcliffe Church views across the site 5. Fine urban grain past in the area 6. Temple Meads station within walking distance, creating a constant flow of people through the area in both directions
Weaknesses 1. Current roundabout is taking up too much space and prioritises vehicular movement over pedestrian/ bicycle movement 2. Unwelcoming urban fabric, creating boundaries rather than inviting in 3. Poor connection from North to South of the Redcliffe Bascule bridge 4. Little respect and attention given to the church by the surrounding urban fabric 5. Green areas around the site seem mostly abandoned due to the lack of interest/activity nearby 6. Extensive car parking area results into less people using the area throughout the day
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Opportunities 1. Bringing life into the area throughout the day by carrying it across from the Old City area towards the area of development 2. Using the waterfront location as an opportunity for people to re-wind and calm down 3. Water traffic could be used to connect Redcliffe Wharf more to the city centre 4. Linking to the church and enhancing environment around it 5. Fine grain patterns could be taken back into the area 6. Using location (in between the train station and the city centre) to encourage people to come onto the site and linger there
Threats 1. Current road development that is due to be finished by the end of this year (Crowther, 2019) results in very poor permeability and legibility around the area 2. There is flooding potential on waterfront locations which ranger between 1 in 50 years and 1 in 200 years (BCC, 2008) 3. Perception of the area as being a run-down in places a ‘no-go’ area (Davis, 2018) could take a lot of time to change 4.Water creating mental separation between the Old city and Redcliffe 5. There has been a lot of money invested into the area which could mean that future developments around the area could result in gentrification 6. Any major development on site could mean replacing some current users of the area, such as squatters, to other areas of Bristol
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Materiality Materials palette Urban fabric textures and materials have been analysed in order to get an idea of the local materials palette and also to understand whether the area is accessible for people with different mobility needs, whether boundaries between private and public areas are clear and whether there is enough diversity and greenery in the area. Brick of different colours and shapes seems to be one of the most prevalent materials around the area. There is a large amount of cobbled area that would not be very easy to access for people with mobility issues, including wheelchair users, parents with prams or injured people. It was also noticed that road surfaces were often giving unclear messages and confusing navigation through the site. Surfaces and physical barriers Key materials of Redcliffe Wharf include cobbles, concrete paving and brick of the existing derelict buildings. It terms of natural materials - red clay and water are most prevalent and this is seen as a visual resource that should be enhanced through careful development on the site. A conceptual site model has been done at the initial stage of the design (below) in which surface materials have been modelled to identify perceptional accessibility of the area through pavement materials and boundaries. A number of physical and visual barriers have been identified in current urban fabric that limit easy and clear access to Redcliffe Wharf.
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Recurring materials
On-site observations Dérive as a method of analysing urban spaces The dérive as a method of analysing urban fabric has been used by the Situationalist International group (Sadler, 1998). It proved to work well for grasping unquantifiable elements of the cities by throwing all the intentions of walking away and strolling through spaces with no purpose. Recording this walk gives a subjective response to the site, showing a route that one could take. Analysing this route then allows to uncover elements of urban spaces and helps pin pointing areas successful places as well as those that might not work so well for one reason or another.
1 The movement was followed by the eye that was intrigued by the colours and the views on the other side of the river. There seemed to be no activity until after the Prince Street bridge, where the city starts to thrive, regardless of the time of the day - opposite to how it is just 3 minute walk away.
Three walks shown on this page started from Redcliffe Wharf as otherwise a dérive does not naturally pass the area at all. A feeling of unsafety was very much prevalent in the area, particularly at night time. Another feature, noticed during the walks was a sharp disconnection between the Old City and Redcliffe that seems to coincide with the bridges, making river act like a barrier, rather than a tool for connecting spaces, which it could potentially do.
2 The journey was a little bit forced in the initial direction as walking through the roundabouts did not seem appealing. Naturally, the path started following the river as it offered more visual interest, comparing to alternative paths.This initially lead into the Old city again, almost avoiding the Redcliffe area on the way.
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3 The last walk could unintentionally be influenced by the fact that I have personal associations with the area where I ended up going, which is an unavoidable and, maybe even favourable element of the dérive methodology. City centre seems to offer many more sensual impact than more uniform Redcliffe area.
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Feng Shui spatial strategies Key Feng Shui concepts were seen as important to be analysed due to the fact that the proposed use of the site is tightly linked with Chinese culture. The development needs to meet key guidance of Feng Shui to show respect to Chinese culture and beliefs.
Diagram of the Badua Compass
These theories have been influential at the stage of choosing the site as this particular site was the only one that fulfils the Feng Shui ideals - others being located next to the church/casino or located at the turning point of the river going towards it which is seen as unsatisfactory according to Feng Shui (Low, 1993). The Badua compass has been applied onto the site (Spear, 1995) as an initial guidance of positioning of uses of the development.
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Stripped back site location
Badua Compass applied
Redcliffe Wharf
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Interviews with current users
Open-for-all street market area sketch
A number of residents and users of the area have been contacted - in person and via email - to get a feeling of a more personal view on the site from a point of view of someone actually using it. Key comments have been put together in order to get an idea on what the local opinion of the areas present and future is. Summaries of their comments can be read below. As a result of these discussions and other site analysis, in addition to the built elements proposed on Redcliffe Wharf, big portion of the site is proposed to act as a public space with a variety of public amenity and play spaces, green areas and a community garden that could be accessed by all. Making the site legible, easily accessible, inviting and active culturally is aimed at creating a new tourist attraction in the currently unused area.
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Margaret Cartledge
Rachel McFadden
Lady of in her sixties, living in the house that faces Merchant’s Quay, two minutes walk from Redcliffe Wharf.
Another creative professional working next to the area of the development who has agreed to share her vision of the area.
• there has been a lot of new housing in the area with no provision of communal public spaces • the Colosseum pub is the only walking distance place where she would go to socialise in the area • it would be nice to bring shipbuilding use to the waterfront • there is a strong community of people living in the boats along the site • cobbles on the Redcliffe Wharf are slippery when it rains
• the gardens are nice but not very busy, sixth form students like to hang around there and play active games • a view from the Redcliffe Parade is one of her favourite • the Wharf is used to be a base for film crews, it had a variety of different functions in its past • the area is missing a fun communal space for people to go on their lunch breaks • the cobblestone roads seem important to the area
Envisioned qualities of Redcliffe Wharf
Making the site accessible for all Serving local residents through keeping the existing character of the area
Forming safe and playable spaces Creating an interesting space to hang around with friends and family
Inviting visitors to stay and linger on site Attracting various activities
Unfolding a new tourist attraction
Aiming at a range of senses to be attracted
Redcliffe Residents Action Group
Elizabeth Davis
A community meeting has been attended in order to get a feeling for the local opinion from those who are actively involved in the life of Redcliffe.
A young professional working in Redcliffe in Noma Architects company who is willing to stay in the area for the future.
• road signage around the roundabouts and the bridge should be improved • high speed cycling has been causing issues for pedestrians due to the fact that there is no clear segregation between traffic modes • current issues around safety, anti-social behaviour and addicts around the area is seen as an important area for improvement • key aim of the Redcliffe Way proposal of stitching the area seemed highly relevant for the local residents
• distinct lack of public green spaces • the area has lost its character after introduction of the dual carriageway in 1960s which should be tackled • the Quakers’ Burial ground could be pleasant, however is currently a ‘no-go’ area as some young people tend to go there to drink and smoke • the boat shed of the Wharf was used to built Cabot’s ship Matthew which should be commemorated in some way 21
Masterplan for Redcliffe Harbourside Creating a ‘hub’ in Redcliffe Wharf seems to be a way of bringing people into the area, celebrating its permanent location, connecting the city and bringing interest into the area to encourage people to linger on site rather than pass by. Another aspect that was introduced into the scheme is prioritising pedestrian traffic over vehicular. This would benefit the city from many perspectives, including environmental, social and even economic in a long run. Enhancing legibility and accessibility in the area is another important element of the proposal. Looking into liveability of urban spaces throughout the day is another element of the proposal, making sure that streets feel safe and liveable throughout the day.
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Jane Jacobs’ theories Jane Jacobs was seen as an influential figure in the history of urban planning (Mumford, 1962; Klemek, 2011; Nevius, 2016), hence her theories have been applied to the proposal, exemplified in the courtyard that is visually and physically permeable throughout the outside and from the inside. Acting as one of the key passages through the site, circulation through would be expected to be high and constant throughout the day, which would encourage three of key theories discussed by Jane Jacobs.
Eyes on the Street
1. Passive surveillance One of main ways of keeping streets safe, help handle strangers and create successful neighbourhoods (Jacobs, 1961) 2. Need for diversity Entails diversity of spaces, events, uses as well as users, adds to the character and makes it easier to navigate through its story. 3. Public Participation Providing people a space to gather and talk can be seen as one of the ways to encourage community involvement, which is promoted at different scales throughout the development - the community garden and kitchen, open space offices, alternative teaching and study spaces and courtyard in the heart of the scheme.
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Organised Complexity
Children’s behaviour In researching into creation of thriving public spaces, movement behaviour of children has been analysed. It was noticed, that children tend to have a much more chaotic and unpredictable movement trajectory in comparison to adults. This perspective was taken in trying to find ways of changing people’s behaviour into a more active - a lifestyle that most of us had at a younger age.
Adult vs child behaviour
A link has been identified between natural behaviour of children and Jacobs’ theories of a successful urban space. 1. Active interest in what and who is around 2. Permanent readiness for social interaction and new encounters 3. Engagement with offered activities and need to be heard Hence, one of the ways of bringing more life into the area is by ‘mimicking’ children’s behaviour. This is supported by the BCC guidance that seeks facilitation of opportunities for play and informal recreation as one of the elements of a successful development (City Design Group, 2018), hence playful spaces have been unfolded in the landscape to welcome children on site and encourage adults behaving more like children, promoting learning through making not only in the teaching space but in the public realm too. This would add to the feeling of empowerment in the community, which enhances the idea of the public leading the way in urban planning, shaping their environment and their future.
Pillars of the community
Five key elements, shown on the diagram on the previous page - street, frontages, location, density and access - have been a focus when designing the scheme as they seem to relate with objectives for the area of the development.
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Masterplan 1:1250 @A3 Masterplan has been created as a response to the local residents’ needs and potential future users of the site. It is believed that urban design should primarily involve a dialogue with its current and future users (Homes and Communities Agency, 2000).
Birds-eye view on two sites of the Masterplan 1
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Building uses Creating socially trust, economically stable, and environmentally responsible development is an underlying aim of the vision. However, social focus has been chosen as a primary one as it is believed that the change starts from the bottom, from people using and inhabiting spaces. This is why the scheme is mainly targeted at social issues but keeping in mind environmental and economic benefits. The key below shows different uses of the site (with use classes classification in brakets) that have been put in a way to make sure mix-use development that would thrive throughout the day and night, having different reasons to come and stay for a variety of people.
Educational institutions (D1) Dwelling houses (C3) Restaurants and cafĂŠs (A3) Assembly and leisure (D2) Shops/retail at ground floor (A1) 28
Building uses diagram
Alternative gallery and co-working space for young professionals
Social housing with local fruit and vegetable vendors at the ground floor
Social housing with community space at the ground level and a post office
Ship building
C k
Community R e s t a u r a n t kitchen and cafe and office spaces
Existing Quakers’ Burial Ground expanded and transformed into Community garden
Confucius Institute and craft workshops
Public events area for markets, music and arts
Social housing with community facilities on the ground level and local market outdoors space
Social housing with a primary school on the ground level
Dwellings of mixed tenures with active ground floor uses
CafĂŠs with outdoor seating
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Confucius Institute The scheme for the Confucius Institute in Redcliffe Wharf is aiming becoming a focal point within the Masterplan, helping it encourage social interaction, curiosity and diversity at a smaller scale through connecting people from the local and wider community with handcraft and Chinese paper folding in particular. Chinese paper folding and paper making lies in the heart of the project. It is not only the main use but also a conceptual driver. Key features of the paper that were a driving force are: • State of being folded or unfolded • Transient nature • Repetition of form and legibility All three of these features were touched upon in Chinese and Western urban design theories (Spear, 1995 and Lynch, 1981) and Policy guidance for the Redcliffe area (BCC, 2011) as well as being linked with the concepts covered in the wider Masterplan.
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Uses on site In addition to Confucius Institute that incorporates teaching spaces, paper making and paper folding workshop area, ship building and community kitchen (supporting the proposed community garden) has been introduced onto the site.
Uses Venn diagram
Br
itis
Schedule of accommodation (in m²)
Sharing culture and paper folding techniques
Supported and empowered
y erl
Creatively fulfilled and skilled
Eld
Confucius Institute - 680 Craft workshops / learning space - 1400 Community kitchen - 230 Cafe and restaurants - 450 Ship building - 200 Offices - 320
Learning by making Past
A ship builder folding a paper boat Bringing back ship building use and passing the skill along
Engaged and active
g
nt
Ship building
Growing together and sharing the meals
n You
Prese
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h
C
hi ne se
Other uses include a reception area, office space, available for rent as co-working space, cafe area, education rooms and multi-purpose outdoor spaces.
Community garden
Uses complementary to Confucius Institute
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Space for the weekly open air local fruit and vegetable market
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Social housing with public areas outside to improve social capital and passive surveillance
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Open public realm with seating unfolded from the landscape
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Playable area, unfolded from the ground to encourage curiosity and play
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Edible landscape,encouraging people to come on site and learn about vegetables and habitat diversity
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Wood working workshop, providing space for ship building, bringing back a historic use of the area
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A Community kitchen where the local community and charity groups (Foodnot-Bombs) can cook and eat together
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Community Garden offered to local residents and a Redcliffe Gardening club to use and nourish
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Building uses Uses that are housed inside the buildings include a Confucius Institute study rooms, paper making and paper folding workshop area, which vary in privacy, ranging from spaces for traditional teaching to individual little nooks that could be used by people, wanting to master a particular fold. Uses of the North building include office and cafe/ restaurant and a multi-purpose outdoor space, located on the rooftop of the building.
Uses diagram across different levels
Ship building workshop links to the paper folding in a way that Chinese art of folding paper was focusing on creating boats and hats rather than flowers and animals that became later introduced with the Japanese origami (Vyzoviti, 2003). Matthew boat being built on site unfolds another reason for this use to be introduced.
Study rooms
PAPER FOLDING
MULTI-PURPOSE
PAPER MAKING
CAFE & OFFICE
STUDY ROOMS
CAFE & OFFICE
Paper making workshop Paper folding space Cafe/restaurant Office space
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Site plan at 1:500 with entry points
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Access onto the site Suggested infrastructure and amenity changes are aiming at improving accessibility and permeability throughout the development, including Redcliffe Wharf. New links onto the site have been added from the top of the Redcliffe Parade by adding stairs leading onto the site and from St. Mary Redcliffe church by opening up what is currently fenced and levelling up a path to make that point of entry accessible for all. Visual access and permeability has been an important factor in the design process. Keeping views onto the St. Mary Redcliffe church was seen was one of the key driving factors of the scheme that resulted into the built form keeping under three stories and two stories - being lower towards the south due in order to allow views from the Redcliffe Parade and to let more natural light into the area.
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Activity precedents Why Chinese Institute?
Chinese New Year in Eastville
Chinese culture is gaining interest in other countries, including the UK. As has been proved by the Chinese New Year annual festival in Bristol that has been attended in order to engage with Chinese audience and develop understanding of how this foreign culture is accepted.
Why paper folding and craft? Chinese Paper folding (zhe zhi) is seen as an activity, accessible for the majority, regardless of age, ethnicity, education level, gender or knowledge of English. Another idea taken up by this activity is that of learning through making. It will be encouraged throughout the development by the workshop area where visitors will be able to create their own paper out of recycled paper, enjoy paper folding and also outside of the Confucius Institute.
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Origami workshop by Tony O’Hare
Why Community Garden and play areas?
Fountains in the Old City of Bristol
Another way of encouraging learning through making is a Community Garden that can help neighbourhood integration (Ahn, et al., 2018) and feeling of participation. The garden is aiming at becoming a new location for the existing Redcliffe Gardening Club that does not currently have a permanent location (Crowther, 2019). A play area on site is also seen as a way of inviting a diversity of people on site and change the perception of the area and transforming into an accessible area that is inviting for all. A limited amount of play spaces can be seen around the Old City of Bristol, as can be seen on the photograph on the right, which citizens take advantage of when there is an opportunity.
Why Community Kitchen?
Volunteers cooking at Cafe Connect
A space where the local community can cook and eat or simply gather is seen as crucial for achieving the objectives set up by the scheme. In addition to that the kitchen facilities are going to be used by the worldwide ‘Food-not-bombs’ organisation that has a brunch in Bristol but recently had to stop functioning due to the closure of the previous space where they were cooking (Cafe Connect, Easton) to then distribute for free to those in need. FoodCycle is another volunteer-based initiative, active in Bristol that is rescuing food that would be otherwise thrown away and then cooking it for the local community.
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Architectural precedents Museum of Handcraft Paper in China by TAO Architects There has been a number of precedents that have influenced the project at various level, ranging from urban design to detail design and structure. Some of the key inspirational case studies are shown on this page.
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Nordic Embassies in Berlin Berger+Parkkinen
Holocaust Museum in Ottawa Studio Libeskind
Oodi Helsinki Central Library ALA Architects
A series of buildings, united into one with a copper shell, visually and physically connecting them into a one whole, creating an interior courtyard inside. Roofs are turned into terraces and roof gardens
Use rectilinear geometry, concrete planes creating spaces and angles forming intense unstable feeling in the urban environment
Social spaces, open to public with a variety of seating, offering spaces for everyone to talk, read or meditate. Natural light plays an important part in creating a welcoming atmosphere
British Civil Nuclear Archive in Wick Reiach and Hall
Central Library for Calgary Snøherra and Dialog
Caixa Forum in Madrid Herzog & de Meuron
Aluminium double-skin facade slots create a visual effect of transparency, which changes, depending on the angle one looks at the building
Wood-linen atrium, creating a visual separation between open spaces and interior rooms, however creating connection by allowing glimpses throughout
Varying internal finishes, creating separation between more public and private areas. Additional quieter spaces are created with sheltered spaces within spaces, adding another layer of privacy
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Inspired by paper folding By taking up Chinese paper folding as one of key uses on site, the scheme is aiming at linking back to paper folding throughout the project at various stages and levels. One of the characteristics of paper that has been influencing the scheme is that of ‘unfoldingness’ which relates to unfolding public spaces from the existing urban fabric. Initial structure is simple and ordered and then unfolds, allowing creation of new meanings “through which the inhabitant makes the world his own” (Lynch, 1981, p. 144) and promote seamless journeys and discoveries by making it easy to get around (Kelly, 2001). This links to another aspect of paper that has been taken into consideration, which is a concept of legibility and visual connection. Transient nature of paper is another feature of paper that was embraced through approach to design and building materials, which are discussed more in depth in the Technical element of the portfolio.
Inhabiting the folds
Video of conceptual ‘anti-structural’ modelling can be accessed through the QR code or directly from the pdf document 42
Conceptual collage, mixed media
Folding as a design method
Design development through sketch modelling
Folding as a generative process is essentially experimental: agnostic, non-linear and bottom up (Vyzoviti, 2003, p. 8). Hence, folding and model-making was taken as a primary tool for generating shape and space. Paper folding is art of series of transformations, it is a dynamic development.The paperfold, hence becomes a dynamic artefact of the process, unstable and ever evolving (2003). Working with white paper signifies working with a clear space, free from meaning and turning it into an object, a tangible space that could be felt, transformed and even unfolded back - however it would never become a clear blank sheet again. The unfolded paperfold is a map of its origination process. It bares the traces of activity that brought it into being. ...Unless it is shred into pieces and turned into a new piece of paper that could be achieved and would be done in a paper making workshop, in order to close the cycle of paper. But even then the trace of the past would stay in tinted colour and thickness, proudly showing its age.
Conceptual collage, mixed media
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Paper making in process
Trying out paper making, clear and with textures
Paper making After talking to some Chinese people, a technique for creating paper out of recycled paper has been identified. The process is simple and involves tearing old paper into pieces, mixing it with water and mixing it together, using blender. This liquid is the put into a mesh and spread out - if wanted, leafs could be added or coloured pieces of paper at this stage. New-born paper should then be left to dry for two-three days and then left under a press, if a straight sheet wants to be achieved - the process is described visually later in the document. The process does not require much special equipment, however, a lot of space is desirable in order to make it clear and easy, separating different stages into different spaces and having a space for drying pieces of paper where they could be checked regularly and seen by others in other to add to social interaction inside the building.
Paper folding A variety of paper folds have been created, in addition to folds done as a part of model making. Paper folding has been carried out in a variety of spaces in order to understand, which spaces fit this activity most. It was noticed that the key requirement for paper making spaces would be its flexibility and variety. When learning a new fold, it is best to have someone explaining it to a group of people, who can support each other in the process. However, after it seems more natural for people to go and find their space to master the fold or even create their own paper folds that could then be taught to others.
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Trying out paper folding in paper and card modelling
Interior uses Group / private study, craft and office spaces
Working
Crafting paper
Building a ship
Planting a seed
Sharing food
Growing a community
Private and quiet uses, provided by the Confucius Institute are unfolded throughout the building, ranging from flexible spaces to traditional rooms where Mandarin could be taught to groups or a new fold could be introduced to a group of students. It was important to make sure that spaces vary in sense of privacy but all have some link to the outdoor spaces, which is discussed further in the section on Biophilia. In addition to traditional furniture, bespoke pieces have been created to follow the paper aesthetics and encourage more active office and study spaces, providing alternatives to seated lifestyle.
Boat building workshop This use acts as another link between Chinese paper folding and the site lies in one of the previous uses of Redcliffe Wharf, which was ship building. One of the derelict buildings on site is to be transformed back into a ship building workshop and wood working. Hence Redcliffe Wharf will offer a number of uses associated with that - building boats with timber, creating paper out of recycled/already folded paper and then folding that paper into paper boats again. The cycle would be closed with people exhibiting their paper boats or showing it to their family, giving them an opportunity to learn about the art of Chinese paper folding and about Bristol ship building history.
Community Garden and kitchen Bringing in hands-on activities onto the site was seen as important part of engaging the local community, hence the community kitchen and a community garden have been introduced, reusing the existing spaces, such as one of the derelict buildings and the Quakers’ Burial Ground. Spaces for seating and play have been introduced into the area to make sure there is place for people to sit and linger on site (Gehl, 2011). These spaces are of varied character to accommodate a variety of users, including intimate spaces below some trees with planting next to them.
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Orthographic drawings Context, views and paper aesthetics can be seen as key drivers that influenced the design of the scheme for Redcliffe Wharf. Key drawings, explaining the scheme are shown in the following section, unfolding plans, sections and elevations of the design in front of the eyes of the reader.
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Informal outdoor spaces 1 Accoya ribbon connecting with the context, following from the pedestrian crossing 2 Unfolded seating area, including shaded area underneath the trees to seat in the shadow 3 Internal courtyard, formed by the building shape and strengthened with the ribbon and outdoor seating, linked with the interior spaces 4 Entrance sequence, created by the ribbon coming up from the ground and into the building, creating a halfopen shaded entry hall 5 Informal multi-purpose area with edible landscape and shaded seating area for people to come and play with 6 Stairs unfold another entrance onto the site, which links with the ribbon at the bottom - alternative wheelchair-friendly entrance is provided at other entry points 7 Outdoor wood working workshop area left for the ship building, located at the West entrance, providing some activity at that site of the site, inviting more people in
External courtyard
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Roof plan at 1:500 @A3
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Views out from interior spaces 1 View onto the housing development, proposed within the Masterplan, that would include public open areas, outdoor fruit and vegetable market 2 View onto the other side of the river, connecting with the existing urban fabric, with enhanced activities throughout the day, created by the Masterplan scheme 3 View onto the outdoor public spaces, providing opportunities of passive surveillance and linking interior spaces with the exterior 4 View onto the Old City, reaching till the Prince Street bridge 5 Views through the courtyard, visually connecting two buildings and allowing views into the circulation area 6 View onto the community garden from the office space, bringing in the idea of Biophilia into the working spaces 7 View onto the church from the waiting area at both levels and from the rooftop terrace
Views from internal spaces
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Ground floor plan at 1:500 @A3
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Plans and uses The top building (Confucius Institute) at ground level comprises of study rooms of various levels of privacy and function, including self-study rooms, conventional teaching spaces, spaces for language exchange that is open for everyone. The ground floor is open for visitors and invites them to come, sit and speak their own language or practice another language. A space for language buddy meetings is also provided - this scheme connects people who want to learn each others’ language by having informal sessions, where thy would voluntarily teach each other.
The bottom (South) building complements the North one with a cafe / restaurant area and an open office that is partially reserved for the stuff, running the Confucius Institute and partially is open for public at a co-working format.
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How to write the word paper in Mandarin
Ground floor plan at 1:200
Plant room
Reception
Group study
Waiting area
Small group study Language buddy space
Front room, multi-purpose Self study
Open language exchange space Flexible co-working space Outdoors courtyard
Cafe / restaurant area
Office Waiting area
Cafe reception
Kitchen
Plant room
Reception
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Plans and uses The North building at the first level revolves around paper making, continuing to offer space for learning about Chinese culture. The biggest space is reserved for paper making workshop that requires permanent space for the equipment and drying area. This space, however, is flexible and could be used for alternative functions, if needed. Paper making is a process is seen as a starting point of understanding Chinese culture, its traditions and the art of paper folding. The process of making own paper out of recycled paper is explained below.
The South building has a similar use on the first floor as to that of the ground floor but is penetrated with double-height spaces coming from below and creating viewing point into the level below.
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How to create paper out of used paper
First floor plan at 1:200
Handcraft room Private quieter space
Social corner with a tea point
Paper making workshop
Reading room
Cafe / restaurant area
Staff corner
Tea and coffee point
Kitchen
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Plans and uses As a visitor has made his/her way to the top floor of the Confucius Institute, a paper folding area unfolds in from of him/her.The triple height below would inspire the visitor to think back of their journey through the building and through life, while the skylight will move these thoughts into the future. A range of spaces are available that range in privacy and could be used differently, depending on the activity - similar to how the same piece of paper would become something different in the hands of different people.
The lower South building has a roof-top terrace that can be accessed vie the bridges from the North building or from the first floor on the same building. This space is multi-purpose and can be booked out for special events or otherwise, is open for public to come and enjoy the views.
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How to do a traditional Chinese boat fold
Second floor plan at 1:200
Open fold space Individual folding space Tea point
Quieter room for self-learning and craft
Space for interactive paper folding teaching
Roof-top terrace
Viewing point onto the river
View onto the church unfolded 57
Plans and uses Floor plans of two buildings mimic each other in its shape - similar to how a paper fold would be repeated over and over again to master the final piece. A feature that runs across the site is shape simplification towards the top. Plans get more open towards the top, unfolding in front of the visitor and allowing space for creation and giving room for creativity. This strategy also allows easier escape from the top floor in case of emergency.
How to draw a plan of the Confucius Institute
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Roof plan at 1:200 @A3 Access onto the roof Solar panels
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Elevation through the courtyard at 1:200 @A3
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North elevation at 1:200 @A3
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West elevation at 1:200 @A3
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East section at 1:200 @A3
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North section at 1:200 @A3
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Unfolding the scheme The following section focuses more in depth on some key elements of the scheme, giving an insight into the building and explaining design decisions and strategies. Context that has been described above has influenced the scheme together with the paper aesthetics that has been carried out throughout the project.
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Perspective section
Open public space
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Office / co-working
Transition area
Cafe / restaurant
Open courtyard
Confucius Institute
Services area
Entrance from Bascule Bridge
the
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Folding ribbon
Ribbon unfolding into outdoor spaces
Accoya ‘ribbon’ has become an integral part of the scheme, playing a number on functions, including aesthetic and practical, which are shown on the diagram and illustrated on this page. Visually uniting element Structure (Brettstapel)
Outdoor flooring Benches
Outdoor spaces Partial internal finish
RIBBON Bicycle parking Shading
Landscape shaped with the ribbon
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Interior with exposed Brettstapel finish carrying on from the ribbon
Ribbon forming building envelope
Ribbon element reappearing throughout external and internal spaces
Structure (Brettstapel) also links back to the paper folding principles in that this massive timber construction does not use glue in its composition (discussed in depth in the Technical Portfolio)
1:40 typical section detail
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Transience of paper Ribbon as a uniting element has been inspired by paper and its light qualities - both visually and in terms of weight. Any solid blown up structure, wrapping around the building seemed to feel too heavy, hence an element of lightness and transparency has been achieved through making this wrapping element a ribbon, forming spaces both externally and internally. Accepting the idea of transience links to the idea of sustainability and making sure that the building leaves the site not worse than it was before after the end of its life span and, ideally, bringing something back to the area. A variety of measures to achieve a more sustainable project have been considered at different stages of the project, ranging from construction to implementation and deconstruction after the life cycle of the building is over - linking back to the idea of transience of paper that has been taken throughout the project.
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The site throughout the day Transience of time as a feature of paper has been taken into consideration at various levels, including change of time throughout the day and passing of the time, embracing different times of the day and taking the most of the natural light, beautiful shadow drops and changing views. Change of scenery also can relate to the change of use on site, ranging from more private activities to more social. Distances from different spaces outside and acoustic strategy of the interior spaces (discussed in the Technical part) allow for activities of varying sounds level to take place at the same time without disturbing others, requiring a calm and quiet environment.
Suggested uses throughout the day
Calm and relaxing
Stralling
Family time
Gardening
Casual cycle
Social and interactive
Dog walking
Ship building
Meeting friends
Educational and introvert
Paper folding
The site throughout its lifetime Inspired by the transient nature of paper and paper folds, created with paper, the materials chosen for the development consciously are those that would change its qualities with time. Having said that, the materials chosen for the structural elements - Douglas fir, Accoya and stainless steel would not weather with time and will keep its visual and structural qualities throughout the time, due to its characteristics.
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Copper cladding after the completion
Practicing language
Learning new skills
Copper cladding in 10 years time
Morning
Noon
Afternoon
Evening
Early night
Late night
Visual effects, created by shadows, dropped form the ribbon element have been analysed in order to make sure that there is an element of visual delight throughout the day. Night time has also been considered, taking that around 12 hours each day the site would not be lit with natural light but should still stay safe and accessible.
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Night time legibility Incorporating artificial lighting into the site to improve night time legibility was seen as an important feature of the scheme. Legibility is a feature of the city measuring how easy can people understand its layout, it describes an “ease with which its [city’s] parts can be recognized and can be organized into a coherent pattern” (Kelly, 2001, p. 3) - a feature that is crucial in the paper folding, hence it informed design thinking and the scheme. It is believed that successful cities are those that “connect people, movement and places… engaging, welcoming, accessible and easily understood” (Kelly, 2001, p. 7). Legibility is one of the main ways of achieving that, as argued by Lynch (1960). It allows emotional satisfaction, encourages communication and adds to the everyday experience. Most of these elements have also been considered by Jane Jacobs as crucial for a successful urban space (1961) before an idea of legibility has been introduced, which links back to the Masterplan that was influenced by Jacobs’ theories.
Night time navigation NACTO guides (2012) have been taken into consideration in terms of frequency of individual artificial street lighting sources (see diagram below), which was applied to the site at the Masterplan and site level. Artificial lighting is explained further in the Technical element of the Portfolio (Research section of the Environment and Sustainability section).
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Scheme at night
Artificial lighting strategy There has been a rise of attention to artificial lighting in end of 20th century, including Christopher Alexander (1977), commenting on emotional aspects of lighting and disorientating nature of uniform illumination. Gordon Cullen (1961) discusses the importance of visual coherence and mentions street lighting as one of key features of urban fabric that changes people’s perception of the street and its qualities. Nonorthodox installation has been adopted, as suggested by Cullen, due to the nature of the scheme, in order to make it appropriate to its surroundings and add to the coherence of the area that would also add to legibility of the area. More emotional approach to artificial lighting could also be taken by looking at Alexander’s way of seeing night time cities as ‘something special’ (Alexander, 1977, p. 180), taking into account that uniform illumination destroys the social nature of space and disorientates people. As a reaction to that a variety of lighting has been introduced to create a variety of layers and visual effects.
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Night time users of the site While the interior spaces close down during night time, outdoor spaces not only stay open for public but encourage visitors to come and use those spaces respectfully but at their own choice. This open use of external spaces links to how paper is used - one could write on it, the other would leave it as it is, while someone else would fold it into an artwork. In a similar way public space is there for people to use however they would choose to.
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Rooftop terrace
Rooftop users in the morning
Despite the fact that two buildings almost replicate each other in shape, the North building, consisting of two storeys, has a rooftop terrace that can be accessed from the building itself or through the bridges, connecting two buildings together at first and second level. The terrace would act mainly as a public amenity that could be privately booked for exceptional events private views of Chinese Paper folding exhibitions or community events, organised by the Redcliffe Community Centre. Apart from these times, everyone is welcome to come up to the terrace and enjoy the views on St. Mary Redcliffe church and across the river on the other side, from which the old city unfolds in front of the visitor. Rooftop terrace in the afternoon accommodates well for the family use or any soft social activities. This multi-purpose space could be used differently in the early evening, including privately booked events or just by visitors of the cafe downstairs who are welcome to come up the stairs to enjoy their drink with a view, unfolding in front of them. Rooftop users in the late afternoon
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Inner courtyard Two buildings have been shaped and placed in a way that a courtyard unfolds between them. This courtyard space is also multi-functional and has access into the building, connecting exterior with the interior and merging the two. Views from this space into the building and vice versa adds to passive surveillance and a sense of unity and social cohesion. External views that reach out to the river due to window positioning would be changing throughout the day which would add to emotional connection with nature.
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Biophilia and biodiversity
Conceptual model set in natural landscape
The concept of Biophilia was introduced by Wilson (1984) as could be described as a human need and drive for interaction with natural environment. This idea gained popularity with WELL Building standard which features Biophilia as one of its criteria. Another element that was considered was a need for biodiversity, particularly in urban areas, that Redcliffe area is currently lacking (BCC, 2018). As a response to that, a variety of green features have been introduced into the area to make sure that different species can move throughout the site as well as enhancing visitor experience - for those just passing through the site and for people coming into the Confucius Institute and other public spaces on site. The concept of eating together has also been explored and incorporated into the scheme as many benefits were seen in cooking and eating food together. A space has been provided for the local community to do that in order to enhance social capital and a feeling of belonging and well-being (Ahn et. al., 2018; Barton et. al., 2003). Nourishment aspect of the scheme
Healthy eating habits
Peer-to-peer cooking support
Mindful eating
Communal cooking and eating
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Eating local foods
View from the edible landscape feature onto the community kitchen
Community garden This space is aiming at Redcliffe Gardening club to use and look after, however it is open to anyone to harvest and also to enjoy the edible landscape features. It was seen as a beneficial addition to the Redcliffe area due to the reasons mentioned in site analysis and on the left. The garden also acts as a buffer between the road and Confucius Institute and attract new audience, making the site more visually prevalent from the St. Mary church.
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Spatial layout across all floors
Legible and clear layout shown in model in context
South building, used primarily as a Confucius Institute, has similar layout across all levels, which was derived from the construction principles - massive wood construction requiring supporting walls, forming a grid that is repeated at all levels. Another design driver was the idea of unfolding spaces in front of the user with the ground floor being a new ‘fold’ for the viewer, while the next level up the pattern feels familiar and towards the top floor the visitor would be able to guide themselves through the rooms easily as the folding pattern would be clear in their memory. The higher, the more open the layout become as there is less required structure to support the weight, less obstacles would make the escape easier in case of emergency and also because paper folding workshops, located on the top floor, are intended as a free space that visitors could use flexibly. Looking at two buildings together, it is important to note that they mirror each other in external shape when looking at it from the plan - this is done deliberately to mimic the manner in which the same fold would be folded several times, making repetition an integral part of the art of Chinese paper making. Repetition of form in the built form
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3D printed model in context with renovated buildings shown in black
Repeating the pattern
Showing variation of uses of the Institute
Interior of the Confucius Institute repeats itself across the levels, as the paper fold would be repeated over and over again, which is a key feature of it. Paper folding as an art form can be explored differently and different ways of learning are encouraged by giving an opportunity for visitor to find their space and create their fold.
Second floor - paper folding
First floor - paper making
Ground floor - learning
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‘Walking’ through the building
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A walk from the Community Garden through to the Courtyard and into what would be a flexible co-working space, ending outside of the window with a view onto the St. Mary Redcliffe church.
Starting from the playable external area on the ground level, the walk carries into the building unfolding double-height spaces with curtain wall windows with a view onto the river and then follows to the central staircase with a view onto the Redcliffe Parade.
The third imagined walk starts off on the second floor Paper Folding space and then goes out into the rooftop, through the bridge connecting two buildings together.This space unfolds views from the roof on both sides on the building.
In a similar way how dérive walks have been carried out at the site analysis stage of the project, digital software was used to carry out imagined walks throughout the new Confucius Institute. The walks can be accessed through the QR codes or viewed directly from the document. On the videos spaces are not occupied with people, hence they do not give an accurate impression of how the spaces would feel like. In order to add to the lively feel conceptual music pieces have been created to support the videos on the background. Sound recordings have been created using solely paper - pieces of various shape and form, creating sounds with interaction between those pieces and the space around them with the air allowing paper to make sounds.
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Materiality Key two materials, used in the scheme externally and internally are copper and timber. Copper being used for external cladding and some hard furniture finishes in the interior. Accoya as a softwood that has properties of hardwood (see Technical portfolio for more detail on that) is incorporated outside as a ribbon, seating and decking material, while Brettstapel structure, composed with local Douglas Fir is internally exposed creating a warm finish, ranging from smooth to staggered posts texture, depending on the area. The images on the right show internally exposed Brettstapel with staggered effect on one of the walls and a ceiling - the effect that follows visual effect of the Accoya ribbon that wraps the building around contrasting with the copper cladding, both shown on the image of the exterior.
Exterior
Interior
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Edited photo of 1:10 detail model
Key materials
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1. Deep and thin Accoya (light in colour timber) ribbon creating a stripped effect, giving a variety of levels of transparency, depending on the angle in which it is looked at 2. Pavement stone with greenery introduced in thin strips, following the visual aesthetics 3. Copper cladding, segmented into 1000 Ă—500 mm sheets creating a subtle horizontal emphasis, contrasting with verticality of the Accoya ribbon 4. Internally exposed Brettstapel (Douglas Fir softwood) with staggered effect on walls which take the load off the external ribbon that comes down from the roof visually links external Accoya feature with the interior
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References Ahn, J., Tusinski, O. and Treger, C. (2018) Living Closer.The many faces of co-housing. London: A Studio Weave publication. Alexander, C., Ishikawa, S. and Silverstein, M. (1977) A Pattern Language:Towns, Buildings, Construction. New York: Oxford University Press. Barton, H., Grant, M. and Guise, R. (2003) Shaping Neighbourhoods: A Guide for Health, Sustainability and Vitality. London: Taylor & Francis. Bristol City Council (2006) Supplementary Planning Document Number 3. Future of Redcliffe. July 2006. Bristol: Bristol City Council. Bristol City Council (2008) Redcliffe Character Appraisal. June 2008. Retrieved from: www.bristol.gov.uk/conservation. [Accessed 27 September 2018]. Bristol City Council (2011) Bristol Development Framework Core Strategy. June 2011. Bristol: Bristol City Council. Bristol City Council (2018) Bristol Transport Strategy [draft]. Retrieved from: https://bristol.citizenspace.com/growth-regeneration/bristoltransport-strategy/user_uploads/bd10559---bristol-transport-strategy-2018_webv3-2.pdf. [Accessed 28 October 2018]. City Design Group (2018) Urban Living SPD. Making successful places at higher densities. November 2018. Bristol: Bristol City Council. Crowther, A. (2019) Redcliffe Residents Action Group Meeting. February 4.Yeamans house, Bristol. Development Control Committee (2017) Application Nos. 17/02049/F & 17/02050/LA : Redcliff Wharf (Redcliffe Wharf) Redcliffe Way. 8 November 2017. Retrieved from: https://democracy.bristol.gov.uk/documents/s17051/08eRedcliffeWharf.pdf [Accessed 28 September 2018]. Davis, E. (2018) Email to Anastasia Angeli. 10 October 2018. English Heritage (2016) Know Your Place website. Retrieved from: http://maps.bristol.gov.uk/kyp/?edition=. [Accessed 29 September 2018] Gehl, J. (2011) Life Between Buildings: using public space. London: Island Press HM Government (2007) The Building Regulations. Fire Safety. Approved Document B. April 2007. London: HM Government. HM Government (2013) The Building Regulations. Protection from Falling, Collision and Impact. Approved Document K. 2013 ed. London: HM Government. HM Government (2010) Conservation of fuel and power. Approved Document L2A. London: HM Government. HM Government (2015) Access to and use of buildings. Approved Document M. 2015 ed. London: HM Government. Homes and Communities Agency (2000) Urban Design Compendium. Available from: http://webarchive.nationalarchives.gov.uk/20170130165337/ https://udc.homesandcommunities.co.uk/urban-design-compendium?page_id=&page=1. [Accessed 13 October 2018]. Ministry of Housing, Communities and Local Government (2018) National Planning Policy Framework. July 2018. London: the Crown. Jacobs, J. (1961) The Death and Life of Great American Cities. Harmondsworth: Penguin Books. Kelly, A. (2001) Building Legible Cities. Bristol: Bristol Cultural Development Partnership. [online] Retrieved from: http://aprb.co.uk/docs/building_ legible_cities_0.pdf. [Accessed 29 October 2018]. Klemek, C. (2011) Dead or Alive at Fifty? Reading Jane Jacobs on her Golden Anniversary. Dissent . 58 (2), pp. 74-79. Low, A. (1993) Feng Shui - the way to harmony. Malaysia: Pelanduk Publications. Lynch, K. (1960) The Image of the City. Cambridge: The MIT Press. Lynch, K. (1981) A Theory of Good City Form. Cambridge and London: The MIT Press. Mumford, L. (1962) The Sky Line. Mother Jacobs Home Remedies. The New Yorker. Dec 1. 3:7:15. Pp. 148-179. NACTO (2012) Urban Street Design Guide. October 2012. New York: National Association of City Transportation Officials. Nevius, J. (2016) How Jane Jacobs Won Her Last, and Most Famous, Fight in New York. [online] Curbed. Retrieved from: https://www.curbed. com/2016/5/4/11505214/jane-jacobs-robert-moses-lomex [Accessed 6 February 2019]. Sadler, S. (1998) The Situationist City. London: The MIT Press. Spear, W. (1995) Feng Shui Made Easy. London: Thorsons. Town and Country Planning, England and Wales (1987) The Town and Country Planning (Use Classes) Order 1987 (1)(a). [online]. Retrieved from: http://www.legislation.gov.uk/uksi/1987/764/made/data.pdf. [Accessed 27 October 2018]. Vyzoviti, S. (2003) Folding Architecture: Spatial, structural and organizational diagrams. Amsterdam: BIS Publishers. Wilson, E.O. (1984) Biophilia. Cambridge: Harvard University Press.
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Appendices and process work
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Seville Field Trip The following sketches have been done on a Study Trip to Seville, a city on the South of Spain. It has helped me form an understanding of what it is that makes people stay in urban areas rather than pass by, going from the point of departure to the destination. Some of the key elements that seem to add to qualities of a compact, accessible and legible city have been identified. • variety of spaces of different scales, uses and sound levels • important public spaces being linked between each other with smaller public spaces • constant stimuli acting at different levels, smell, light, sound, feelings • a diversity of people passing by at slow speed with pedestrian movement prioritised • active frontages throughout the journey with a clear separation between private and public These elements are universal were attempted to be applied to development of Redcliffe Harbourside.
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Squares
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Public buildings
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Thresholds
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Massing options Initial layout and links through
Initial section in context
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The 1:1250 model created as part of the group work
Feng Shui applied to Redcliffe Wharf The site has been chosen partially in response to Feng Shui principles as well as location of uses, as can be seen in the photos of the conceptual model below. However, Feng Shui ideals had to be suppressed with local principles of design and layout to make sure that the final scheme responds to its context and works, above all.
Zoning of the site
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Linking to existing Chinese locations in Bristol Existing locations in Bristol that Chinese audience would often visit have been identified and put into a map in order to draw the initial guide lines to inform the shape of the urban fabric on site. This was an influential stage of the design process that helped forming not only the patterns of the landscape on site but also visual language chosen for the building.
Chinese places in Bristol - inspirational lines Wai Yee Hong Chinese Supermarket
Oriental Market
Inhara Chinese Medicine Centre
Bristol Overseas Chinese Association Mayflower Chinese Restaurant
68 Oriental Supermarket
Dragon Express Chinese
Wong Tai Sin Take-Away Chinese Martial Arts
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Bristol and Avon Chinese Women’s Group
Responding to the Badua Compass - site zoning
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Modelling as part of the design process
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Finding the shape Massing explorations
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Unfolding the scheme around paper aesthetics The form of the building has moved from being overly angular which worked at the concept level but created too many uninhabitable corners in the interior, which forced the building form to become more rectangular - eventually going to far from the concept of the paper. It took many iterations to find the balance between two extremes - but this is what the art of paper folding is about - the art of transforming a soft square into a rigid three dimensional form that could be called a work of art if done well.
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Visual impact 1 As can be seen from two sketches from the river bank of two design proposals, he inner courtyard has always been a prevalent feature of the scheme as well as building form extending into the surroundings in one way of another.
Folded plate structure models
Three- and two-hinged frames
Search for interior solutions
Folded plate construction
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Panel / box construction
Visual impact 2 This alteration is enhanced with the ribbon that starts to wrap around the building, however yet in a quite irregular and confusing manner. At that stage the paper folding aesthetics have already been mimicked with the ribbon that met the building at angles, forming many entrances into the building at various levels.
Section in context and views out
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Changing the building form The shape that is close to the final proposal has been found after a decision to more away from the guiding lines have been made. At that moment of the project, this design move has freed up the thinking and allowed a more thoughtful proposal to appear as a result.
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Materiality Materials have been considered from the initial stage of the design, taking the Brettstapel structure with exposed internal finishes, meaning that the interior is timber, leaving the exterior an option - to follow the warm feeling (as was done originally) or to contrast it with a strong material as was chosen to do at the end with copper cladding.
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Detail design and sustainability First attempt at detailing the ribbon
1. 130 mm Brettstapel structural wall 2. 15 mm Plywood 3. 180 mm wood fibre insulation 4. 40 mm Battens and cavity 5. 40 mm vertical timber cladding 6. 40 Ă— 200 mm Hardwood timber boards 7. 100 mm steel cleats 8. 400 Ă— 200 mm steel frame
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Brettstapel structural wall 130 mm Plywood
15 mm
Wood fibre Insulation
180 mm
Battens and cavity
40 mm
Vertical Timber cladding
40 mm
Hardwood timber boards 40*200 mm Steel cleats
100 mm
Steel frame
40*200 mm
Environmental Matrix The following tables shows various elements of the project and technologies and solutions that I have intended to add in order to address particular issues. This Matrix has been done at the initial stage of the scheme development, hence. it has changed.
Power and energy
Heat and ventilation Daylight and shading Thermal mass Water and flooding
Landscape Health and well-being Pollution Inclusive design Safety and electric lighting Access and movement
Physical elements and technologies
Design solutions
CCHP unit, generating energy locally and returning in back to the grid at night when not used. Energy is also generated by the solar panels on the top of the institute building Brettstapel technology Plant room in each building – no need for heating to travel far, hence more economic.
The chosen construction technique (Brettstapel / Dowellam) uses local softwood timber of not very high quality put together that gives them strength Materials used are mostly local or reclaimed (accoya for rooftop terrace)
Ribbon element acts also as a shading Wide windows allow a lot of light in when it is important as there is a lack of sun light on site Permanent and moveable shading Massive construction used Thick layer of insulation Brettstapel
Buildings are oriented and positioned so maximise sun falling onto them. Overheating is prevented by shading and deciduous trees planted outside the south facades
Water usage meters placed eye level in the location where it could be seen to raise awareness for use of water Low-wasting toilet fittings Rainwater collection for toilets and irrigation of the community garden Community garden Playing and seating area on site, connecting the building to its surroundings Natural insulation used made out of recycled compressed paper Alternative furniture – standing up and leaning Vegetation Change of the road Bringing covered bicycle sheds Variety of spaces Key functions located on the ground level Clearly marked steps on the stairs Artificial lighting installed See-through elements Permeable design
The building is set off the river edge to prevent it from being damaged in case of minor flooding Water saving measures were considered at the construction stage by using technology that uses untreated timber, hence using less water and energy in its production
Clear paths throughout Linking the carpark at the top with the site
Conservation A protected surface along the river and poles and preserved and heritage Two buildings preserved, one – demolished due to the fire that happened during the project development
The form of the buildings was tried to be kept rectangular to avoid waste of heat. Ventilation was considered when designing the rooms to make sure that each room could have enough fresh air coming in
Thick walls were given priority to minimise heat variation throughout the day Passivhaus concepts considered
Landscape was considered as one of the key elements of the scheme Creating new habitat in the urban setting was one of the aims of the proposal as well as bringing the community into the area with providing a garden for them (Redcliffe gardening club) Legibility are clarity of the project was given priority to make sure the area feels safe and clear to its users Offering a range of furniture to accommodate a variety of users and needs was seem as an important feature of the project Bringing nature onto the site and visually into the building would help its users feeling more calm and relaxed Prioritising pedestrians and bicycle users Buildings comply with regulations (Part M and Part K), ensuring that spaces feel welcome to others and do not disable any users from enjoying spaces equally to others Perception of safety was considered to be an issue on the site prior to development due to the lack of artificial lighting and ‘border vacuum’ anomaly, described by Jane Jacobs (1961) Creating visual links onto the site and inside it and in the interior spaces adds to the feeling of control and safety Maintenance also plays an important role in making sure the space feels safe throughout its use Permeable design was given priority to make sure that people could walk through the site Pedestrian movement prioritised, however access for delivery and emergency vehicles is provided More links to the site introduced, allowing people to come to the site more naturally Important trees are kept Existing buildings are given a new use Quakers’ burial ground has gone through some changes, however the preserved elements are kept and strengthened
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Section through the river View on the church has been considered as one of the valuable assets of the area (BCC, 2006).The height and roof scape of the development have been requested by the Neighbourhood Plan (2006) to respond to the view analysis and 3D modelling exercise which has been done, using Google Earth by importing the scheme in order to see the outcome views and via physical modelling. Considering night views from and onto the site, artificial lighting has been implemented as a part of Bristol Legible City Initiative (Kelly, 2001) to make sure spaces are legible throughout day and night.
Confucius Institute and Chinese paper folding and paper making workshop space
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Flexible office space and a restaurant across two levels
Details in process The detail design has been a long process with many changes made on the way which has led to the detail shown here that then was developed much further after that to get to the final detail, shown in the main portfolio.
Key:
Typical detail exploration
These changes include the cladding strategy - the initial combination of copper and Accoya planks (as can be seen on the photo below) has been changed into copper panels, as well as outdoor flooring built up, the foundation strategy and window system.
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Photo of external cladding (detail model 1:10)
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1 - 32*50 mm Accoya decking laid on top of waterproof membrane connected to timber battens running underneath 2 - 20 mm Plywood planks 3 - 300 mm Fibreboard insulation tapered at 10* 4 - 220 mm Brettstapel - Douglas fir soft woo planks put together with hard wood dowels 5 - 20 mm Timber parquet 6 - 75 mm Screed with underfloor heating 7 - 260 mm Fibreboard insulation 8 - 200 mm Concrete cast in-situ with a kicker 1000 mm deep along the edge due to high proportion of clay in soil 9 - 200 mm Compacted hardcore 10 - 150 mm deep Concealed gutter with 75 mm overlap to prevent splashes 11 - 4 mm Alluminium frame water protection 12 - 32*120 mm Accoya planks facade connected to timber battens 13 - Alluminium curtain wall frame with a double-glazed window 14 - 200 mm Drainage covered with a metal mesh 15 - Accoya timber decking 16 - Stainless steel frame holding Accoya planks, connected with stainless steel rods, tight together
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Confucius Institute Redcliffe Wharf Bristol Anastasia Angeli
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