ANGUS SMITH Architecture portfolio
POST GRADUATE APPLICATION
ANGUS SMITH 23/05/1992 angusjhsmith@gmail.com
Bachelor of Arts in architecture from Sheffield University, part I experience at Sauerbruch Hutton Architekten and 5th Studio Architects in Berlin and London respectively. Academic, professional and personal portfolio for application to study a Masters (partII) in Architecture.
ACADEMIC WORK
PROFESSIONAL WORK PERSONAL WORK
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ACADEMI
3-1
IC WORK
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NATIONAL FAIRGROUND ARCHIVE 3rd Year project Sheffield School of Architecture Tutor: Mark Emms
Archives serve as a permanent repository for the records of a given phenomena, person or organisation. Each year, a fair arrives in the town of Ilkeston, squeezing through the streets, alleyways, carparks and market square, transforming this otherwise quiet ex-industrial town into a maze of noise, lights, blurred motion and the smell of mushy peas. The National Fairground archive is a record of the phenomena of the fair. The NFA is tucked into a small site just off the market square, linking two alleyways in the town. It serves not only as the repository for all historical data on the fair, but actively documents the experience each year. A series of thresholds allows a number of different types of interactions with the archive; the casual passer by can simply walk through the building, a sensory experience can be had in the simulation pods, or deeper into the building, more intellectual and academic connections can be made by accessing the articles safely stored deep in the ground.
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ILKESTON
The proposals extend the area of public realm, providing a new service as well as activating an otherwise derelict space and creating new ways to pass, unhindered, through the town.
The site links two alleys leading off the main market square. It sits nearby several of the main town buildings, allowing the National Fairground Archive to become another important addition to this cluster of key places.
THRESHOLDS
The archive is divided into three zones, relating to the level of archival rigour practiced within: The circulation, relaxation and archiving areas allow different levels of connection with the archive.
Scale 1:100
Simulation Pods straddle the threshold between the walkway and the interior. Portholes offer views into vivid simulations of the fair, video footage or sensory demonstrations. These serve to draw curious passers-by into the archive.
SPATIAL ARRANGEMENT
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While each area of the of the archive must be atmospherically separated from the others in order to preserve delicate ephemera, there are elements of the plan which serve to blur these thresholds. The staircase up the to reading area projects briefly into the humidity controlled archive space, atmospherically separate but spatially linked.
The boat-like structure of the reading area, straddles the archival and exhibition spaces serving as a physical and conceptual link between the two areas.
Two storeys of deep stroage lie below the archiving area.
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The sections demonstrate the series of thresholds, allowing the different uses of the building to be connected, whilst also, necessarily, remaining separate.
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RESTORE FACTORY SETTINGS 3rd Year project Sheffield School of Architecture Tutor: Oli Cunningham
The UNESCO world heritage site of Saltaire provides the testing bed for a research centre which questions current conservation practices and the concept of authenticity in an environment protected to preserve its identity. The heritage factory, much like the village of Saltaire, presents itself as a product of its epoch; here a combination of modern, digital methods of construction are used to construct a building which exhibits and exemplifies the nature of the research carried out within. Taking cues from the direct historical context of the site, a partial reconstruction of the demolished bathhouse provides a skin for a modern building which reveals the passage of time and developments in technique and material between the industrial and digital revolutions. The town of Saltaire is restored by the heritage factory, using methods ranging from traditional stonemasonry, to full and perfect facsimiles as produced by digital methods of scanning and 3D printing; each arguably achieving ‘authenticity’ in their own right.
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SALTAIRE
Built in a hierarchical arrangement, the houses for each position in the mill are different; with larger ‘overseer’ houses bookending the smaller terraced houses of the normal workers.
Saltaire was built in 1851 by Sir Titus Salt, industrialist and philanthropist. It was built to conglomerate his 5 mills in Bradford, and also to bring his workforce out of the Slums, into better living conditions, and close to the mill. Designed by architects Lockwood & Mawson in the Italianate style, the whole village is preserved by UNESCO as a world heritage site.
SITE
The Heritage Factory, and its adjoining ‘testing bed’ of houses.
The Site is buried deep in the residential area of Saltaire; A grid of terraced houses, and a series of hard edged street fronts, strong corners, and back alleys. The 3 aspects of the site need to respect these conditions. The original bathhouse was demolished around 1930 due to under-use and stigma related to public bathing.
SITE ENVIRONMENT
SITE IDENTITY
The ‘identity’ of Saltaire is complex and multi layered; with both subtractions and additions made over the years to the fabric of the town. These layers start to paint a deeper picture about the World Heritage Site, particularly with regards to authenticity.
AUTHENTICITY What makes something authentic? Does authenticity lie in the intent or the Outcome?
One part of the Heritage factory asks the question of whether authenticity can be achieved through modern digital methods: 3D scanning and creating perfect facsimiles of parts of the town. if it looks the same, smells the same, tastes the same, is it the same?
DIGITAL
The other part retains and uses the ’traditional’ ways of achieving authenticity: stone masons rebuild parts of Saltaire using old methods, with new materials. “The authenticity of a place is derived from whatever most truthfully reflects and embodies the values attached to that place.” English Heritage
TRADITIONAL
LAYERS
There is a conversation between the traditionally constructed outer skin and the inner buildings; sometimes they touch, sometimes one shelters the other, other times the space allows users to walk between the elements; a component in the assemblage of layers which form the building.
A range of materials arrayed in layers creates a language between old, new, temporary, permanent, fixed and changeable within the building: The contrast of methods inside exemplified in the building itself.
FORMAL STRATEGIES
Like Saltare, the Heritage Factory is created from a series of additive and subtractive layers: layers present both in the tectontics of the scheme as well as the physical construction and conceptual realisation.
A courtyard is cut from the inner block to create separate buildings
Factory Block
Research Block
Site Office
All cut planes have a transparent ETFE layer
Cross laminated timber panels
A slice is taken through the bath house wall
The manufacturing block is made up of t h e F a c t o r y, a n d t h e adjoining two terraces.
Unfolded elevation T H E
H E R I TA G E
F A C T O R Y 1 : 1 0 0
u n f o l d e d e v a t i o n s
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all outward planes have a translucent layer
Opaque stone bath house wall
Passing through the front gate, one is aware of the link between the building which once stood, and the one currently standing.
ASSEMBLY
The Heritage factory and the adjoining terrace are the site for the research and testing of the new and old restoration techniques
Site office
YORK HOUSING PROJECT 2nd Year project Sheffield School of Architecture Tutor: Simon Chadwick
Situated in the old moat, just outside the ancient city walls of York, this project consists of 6 family houses and a block of 7 separate dwellings for students. Taking, respectively, precedent from the modern British and High-Tech movements in the 70s and 80s, the terrace is brick-built, heavy with craft while the student block ‘unwinds’ upwards using lighter weight, more technologically advanced materials, to provide a landmark, and a strong bookend to the scheme. The project aims to have a constant and respectful dialogue with the ancient structures of the wall, gatehouse and the moat, whilst combining old and new building techniques.
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INITIAL RESPONSES
Referencing and understanding the works of modern architects of the 70s and 80s such as Sir James Stirling, Richard Sheppard and Sir Norman Foster was important both conceptually and graphically.
Preliminary study to understand the anatomy of living activities: Preparing, cooking, eating and documenting a dinner party.
PLANS
Each house has very thick front and party walls. This massive brick constuction is then dug into, housing the more utilitarian requirements such as circulation and storage. It also allows deep window reveals, to play with the light entering the dwellings.
Basement studio
Kitchen/ living
Master bedroom
The single occupant student dwellings stack upon each other, offering a living/kitchen area with a mezzanine overlooking the sleeping area.
ARRANGEMENT
The whole scheme relates to the form of the York city defences: A hard, thick front wall, supported by buttresses. the party walls (buttresses) continue through the terrace and are repeated in the structure of the student block. The level changes within the house respect those of the original moat it sits in; with a half level descent from road level to retain the datum line of the moat bottom.
PROFESSIO
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ONAL WORK
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ERNST & YOUNG HEADQUARTERS Luxembourg, 2015 Sauerbruch Hutton Architekten
This Large commercial office building for accountancy firm EY has recently been completed. I worked on the latter stages of this project, performing a range of tasks from 3d modelling, to furniture planning for tender, to bespoke fabric wall claddings.
A large part of my work on this project was the design of over 100 bespoke printed fabric panels in a Luxembourg theme. A deep and long-running iterative process was undertaken to satisfy the client’s desires in terms of content and execution. Old paintings and images related to Luxembourg’s past and Landscapes were eventually abstracted and printed onto panama cotton.
HAUS AM UFER COMPETITION Kreuzberg, berlin Sauerbruch Hutton Architekten - Winner
Competition for the Urban scheme to regenerate an area of Kreuzberg, centering around an existing office block. A mixed development of offices, apartments, shops and a kindergarten were proposed. This mix of uses is achieved through the implementation of a series of plinths which separate the private space from public thoroughfares. I contributed to every part of this competition, model making, drawings, facade studies, diagrams, layout and working on the final images.
VAUXHALL MODEL Vauxhall, London 5th Studio Architects - public consultation
Large scale timber model for a public consultation regarding the proposed changes to the Vauxhall public transport interchange.
Existing buildings
Site of proposal
Existing trees
Proposed trees
Schemes consent
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planning
PERSONA
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AL WORK
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GLOBE
The Globe was a personal project looking to explore the capabilities of a powder/ resin 3D printer. The idea was to create an ‘impossible object’, resulting in this smooth sphere with a world on the inside.
RECYCLED BAGS
Experimantation with recycled materials has led to development of several bags, and prototypes. Laminating old polythene bags has yielded strong, waterproof and varied materials for future projects.
Model N째1 Fabric created from laminated compost bag, Infinite strap with copper clasp.
PHOTOGRAPHY Berlin, Malta
ANGUS
23/05
angusjhsmith
S SMITH
5/1992
h@gmail.com