Architecture Portfolio - Oxford Brookes University

PORTFOLIO OF BEN BURKE

BA ARCHITECTURE PORTFOLIO IN SUBMISSION TO OXFORD BROOKES UNIVERSITY SELECTED WORKS FROM UNDERGRADUATE STUDY, COMPETITIONS, & WORK IN PRACTICE

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3 4 7 12 14

CONTENTS

- LENS, LIVE/STUDY, 1ST YEAR - AMPLIFY, SOCIAL HOUSING, 2ND YEAR - I.T.A.E, ART EXHIBITION, 3RD YEAR - TOKEN, REHAB CENTRE, 3RD YEAR - URBAN VALLEY, TINY HOUSE, 2020 - WORK IN PRACTICE, 2019 - 2021

CONTACT INFO:

EMAIL - BENBURKE@GMAIL.COM WEBSITE - ISSUU.COM/BENBURKE95

LENS

LIVE/STUDY 1ST YEAR

HAND DRAWN SECTION Fig 1.1

The design intention was to start off with a square 3x3 m space, and shift and rotate the square on different levels to create extra space. This enabled easy storage access for the student. The top of the building is meant to represent an old fashioned camera flash, and allows for a panoramic view of their environment, perfect for their course.

HAND DRAWN SECTION Fig 1.2

The design intention for the ground floor was to have a simple shift in form to allow storage space under the kitchen worktops, and to create extra floor space. I utilised the wooden frame as the bench and worktop are incorporated into it.

The design intention for the first floor was to rotate the square form to create shelving around the private space. A bathroom and bedroom was designed for this space.

The design intention for the second floor was to allow as much natural light in as possible, and with the vertical rotation of the square form, a old fashioned camera flash was created. There is plenty of space for storage and plenty of opportunity to get great pictures from their desk.

Fig. 1.1

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Fig. 1.2

AMPLIFY

SOCIAL HOUSING 2ND YEAR

3/5 BED EXPANDABLE HOUSES

PERSPECTIVE VISUALISATION OF THE SITE

Fig 2.2

Fig 2.1

My design was based on world renowned architect Bjarke Ingles’ notion of hedonistic sustainability.

The theory that you can design hedonistic spaces without breaking the bank. My design incorporated balconies, adaptable housing, rooftop gardens and allotments spaces, and kept to the guidelines of the local Housing Building Regulations. I aimed to incorporate as much green space as possible as the site backed onto an allotment. with the vertical rotation of the square form, a old fashioned camera flash was created. There is plenty of space for storage and plenty of opportunity to get great pictures from their desk.

The initial 2 bed house can be expanded to have 5 bed using the allotted space given adjacent to the house footprint.

The reason for this is because young families may expand and want extra space for their children, the allotted space given is enough to add an extra 3 bedrooms; 2 on upper floor, 1 on bottom.

Fig. 2.2

1/3 BED ADAPTABLE MAISONETTES Fig 2.3

The design ambition for the maisonettes was to have an adaptable space which could be converted from a 3 bed maisonette, to 2 x 1 bed flats. This was achieved through entrances on different levels of the building, and a shared floor area on both floors.

Fig. 2.1

Fig. 2.3

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I.T.A.E

ART EXHIBITION 3RD YEAR

VICTORIAN ENGINEERING SKETCH Fig 3.1

To understand the site I undertook numerous studies into what certain elements at St. Pancras has that stand out. From the initial glance you would say the prominant feature at the stations is the trains, the shops and the huge arched roof. But once I started to analyse each area of the station, I noticed beautifully crafted Victorian engineered structures, which were found at four seperate points throughout the whole station, and in essance, allow the huge archway to stand the way it does. Moving forward I aimed to incorporate certain design elements from this piece of engineering into my design.

OUTCOME

Fig.3.3

GOTHIC EXTERIOR SKETCH

The art exhibition is an interactive, Facial Recognition scanner which projects an animation about the timely events of Brexit and Theresa May, and also incorporate the passers by in departures. The animation could be reprogrammed for other sites.

SIDE ELEVATION

Fig 3.2

Fig 3.3

The front entrance to St. Pancras is beautifully fronted with a gothic revival face. With there being such a high level of prestigousness to the ornament and order of the facade’s, I aimed to incorporate a contemporary take into my design.

The design ambition for the side elevation was to minimise the amount of the art exhibition you could see from the side, which would be anywhere else but the departures. This was to make the exhibition exclusive to the people who are disembarking from their journeys at the departures.

FRONT ELEVATION Fig 3.4

Fig.3.4

The tilted framework is meant to indicate the fast paced environment departures possess, as people may need to be in a rush to go to their next destination. The interactive facial recognition scanner would then project the animation regarding Brexit, with the passers by incorporated.

PLAN Fig 3.5 Fig.3.1

Fig.3.2

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From plan view the design sits over the escalators which goes down into the London underground. It was sited here as it will have maximum interaction with the pedestrians and it won’t impede on their journey.

Fig.3.5

SECTION W/ DETAILS Fig 4.2

PHYSICAL MODEL

These details are designed with simplicity in mind, for ease of construction on site, and for ease of disassembly. The frames material is lightweight and rigid which aids the onsite construction as it is light and sturdy. The fixings are all strong metal bonds which enable it to have the rigidity and stability it needs. The node was the most integral and most difficult element in the structure to resolve, the result was a composite of metal and plastic which enables the node to be maluable to pressure, yet provide enough stability to support the truss’, and therefore the structure.

Fig 4.1

I created a 1:20 physical model which best portrays the way I intended to show my concept. The black frame in the middle was laser cut and spray painted, the side trusses and structural benches were also laser cut. The black backdrop for the animation was created by putting groves into the mdf frame, and then lashing black string through.

Fig.5.1

Fig.5.2

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ASSEMBLY / DISSASEMBLY Fig 5.1

These axonometric diagrams shows how the primary structure is assembled. This primary structure design derived from a combination of Norman Foster’s Maggie Centre in Manchester, and the Victorian Structure at St. Pancras Station.

Fig. 5.1

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ACTS AND SCENES

TOKEN

EXPERIMENTAL PHYSCOLOGICAL REHABILITATION CENTRE

Fig. 6.4

An ‘Act’ is the series of rooms (‘scenes’) which in a collective make up an ‘Act’. Each Act aims to provoke certain emotions, wether its fear, uncertainty etc. The four Act’s illustrated in Fig. 2.2 portrays a certain characteristic which the participant will be tested on. The architecture reciprocates the choices made in each Act giving positive or negative conditions to be in.

3RD YEAR

FLAKTOWER: BERLIN

All Acts have architecture styles which aim to closely represent the characteristic it has been assigned to, for example. Loyalty is the combination of structure and the internal face. No Loyalty would mean the structure is not kept within the internal face and can be seen as demolished/breaking away. Whereas Loyalty will enhance the relationship between structure and internal face as the steel rods would intertwine to create an artistic and fluid internal face.

Fig 6.1

The site for my final year project was set on a WWII German war relic in Berlin, Humboldthain Flaktower. The site posed many restrictions due to it’s rich history which I did not want to impose upon. However, it’s history birthed an idea of researching into the vulnerable people who where most effected by WWII.

WLADYSLAW SZPILMAN

Act 1: Loyalty

Act 2: Cooperation

Fig 6.2

Wladyslaw was a polish pianist who evaded being sent to Auchwitz during WWII. His family was captured and later perished. The actions and previous life choices Wladyslaw took enabled him to gain enough leverage over the captivating force of the Nazi’s, to heroically escape. His story inspired my further research.

Fig. 6.1

BUTTERFLY EFFECT Fig 6.3

I developed an understanding of the Butterfly effect, a decision has infinite outcomes, but wrong ones have a higher correlation to worse results.

Fig. 6.3

Act 3: Respect

Act 4: Courage

BEING ‘FREE’ IN BERLIN Whilst researching into Berlin, I found numerous articles that depict Berliners as ‘free’. I also found that Berlin has one of the highest drug uses in Europe, which lead me to believe the two correlate. Arguing against the statement that people in Berlin are ‘free’, as the people who take drugs are still under control by the chemical nature of the substance.

THESIS OUTCOME Using both Wladyslaw’s story as an example and the theory of the butterfly effect, I designed a Physcological Rehabilitation Centre which aimed to show the people of Berlin that making the wrong choices can lead to adverse consequences, and also aimed at disfiguring the distorted ideology of Berlin being ‘free’ due to drug use. This will be done through a series of ‘Acts’ and ‘Scenes’ which aim to provoke true reactions from the public.

Fig. 6.4

Fig. 6.2

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DESIGN APPROACH

CIRCULATION

Fig. 7.1

Fig. 7.2

In aims of try to provoke true reactions of participants, I wanted to create spaces which causes people feel uncomfortable. This will reduce the amount of false reactions to certain scenarios as people may feel the need to lie in order to be perceived in a more positive light. It’s important to achieve this as the participants will recieve a reciprocation of their choices in the form of art and architecture. The diagram illustrates the controlling forces which are calming, will not have the same effect as if the controlling force was unnerving.

In order to maintain the notion of the architecture representing the decisions made by participants, the circulation of the ‘Acts’ needs to have the same effect.

After illustrating various ways of navigating through the building, and knowing what effects I wanted to achieve, a chronological order of events relating back to the events from the film ‘The Pianist’ was the outcome.

This was to eliminate any source of familiarity to the participant, as every user should have a completely unique experience.

Circulation: Vertical

Massing: Dense

Circulation: Horizontal

MASSING

Massing: Systematic Spacing of Rooms

Fig.7.3

After understanding the variety of massing options, it was apparent that there should be some element of light being introduced into the pathways between each ‘Act’. So if you make positive decisions then you will go higher up within the tower so there is more light. Whereas if you make negative decisions, you will go downwards and there will be less to no light. A massing mechanism of rooms arranged in a chaotic mannor was the outcome, as the aim was to create unique spaces for everyone who would traverse through the building.

Circulation: Mixture / Chronological

Fig. 7.1

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Massing: Chaotic Spacing

Fig. 7.2

Fig. 7.3

ACT ONE ‘LOYALTY’ Fig 8.1, 8.2

This is the first of four Act’s, which focuses on the characteristic ‘Loyalty’ and looks at using the structural integrity and internal face as the main focus of the artistic & spacial arrangements. The inital route is dark and demading which sets the tone for the initial pathway to each scene. The aim of this is to try and create a sense of a new threshold being entered, which strays from the familiarities of the real world.

The first scene shows a glimpse of a bright room, creating a sense of urgency, as the user is in a dark place and can see a larger and brighter room further ahead. Once they get to the brighter room, loud and alarming clangs begin to sound around them, creating another sense of urgency. They are met with a decision to make based on the events in the film ‘The Pianist’ which is based on the first of four characteristic’s, Loyalty. Two choices, two outcomes, two rooms, yhe room they decide to enter will reciprocate their answer.

If the user chose the more ‘loyal’ answer, they are met with a light spacious room, with intertwining, artistic copper rods to form the internal face. A copper lattice forms an arch as a gateway to the next room.

Scene One

Scene Two A

Scene Two B

Fig. 8.1

Fig. 8.2

Fig. 8.3

Fig. 8.4

ACT TWO ‘CO-OPERATION’ Fig 8.3, 8.4

This is the second Act which focuses on the characteristic of ‘Co-operation’, and looks at using small unnerving wooden beams to create the senses of the space. The first scene uses a standardised size of wooden beam to create a small hallway which leads to the next scenes. Whatever the decision the wooden beams will reciprocate the decision made. If unco-operative, the beams will coagulate to form a dark dangerous room with stalignate like features to unnerve the user. If the user chooses to be co-operative, the beams form together to create an undulating branch form which carves the space for the user to explore, at the end of the space is a swing dangling from the curvatious branches to really captivate users experience.

The first scene in this act aims to make the user feel claustrophobic, with undulating wooden spears breaching out of the floor and a draped black cloth hanging from the ceiling. The user is able to spot an opening but cannot gain access until they make a decision.

Scene One

Scene Two A

Scene Two B

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ACT THREE ‘RESPECT’ Fig 9.1, 9.2

Act Three focuses on the characteristic Respect, and looks at how soft materials can be manipulated into creating experiences unheard of to the users. The first scene welcomes the user with a laberinth nest to traverse, with unidentifyable, broken objects wrapped up in the silicone and carbon fibre compound string. The user then comes to the point to make a decision. If the user becomes respectful, they are rewarded with a dark room, eluminated by the night’s sky above them. Mirrors surround them making it seem like they are not alone and that the night’s sky is eternal. However, chose to be dis-respectful, and you are greeted with a dark room with little light exept for that at the end of the tunnel. Dark transparent cloth is draped above them to create a dark, damp cave-like atmosphere.

Scene One

Fig. 9.2

Scene Two A

If the user becomes respectful, they are rewarded with a dark room, eluminated by the night’s sky above them. Mirrors surround them making it seem like they are not alone and that the night’s sky is eternal.

Scene Two B

Fig. 9.1

ACT FOUR ‘COURAGE’ Fig 9.3, 9.4

The final Act focuses on the characteristic of Courage, and looks at implementing numerous elements of spatial manipulation and illusion to disorientate the user. The first scene greets you with a narrow hallway of hollow beams protruding out of the wall, “it’s like looking down the barrell of a thousand guns”. Once the user reach the end of the hallway you are shown a glimpse of the next scene through metal bars, but for now you are made to walk the long way around, building suspense. Once the user has made it out of the narrowing corridor, they come to the next scene which the user could see through the bars. What the user comes to now is a dark room which is cracking on every surface. The room is made to feel as dangerous as possible to provoke a true reaction from the user. If the user chooses to be couragous they walk through the dark tunnel which faces them. At the end of the tunnel they see a stairway with light radiating at the end of it. The room is made to feel as calming as possible. If the user is uncourageous, they are sent down into a maze with crooked walls and very dim lighting, making the experience daunting.

Scene One

Scene Two

Scene Three

Scene Four A

Scene Four B

Fig. 9.3

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Fig. 9.4

PERSPECTIVE SITE SECTION

PROJECT REFLECTION

The perspectove site section produced below was made to show an understanding of the chaotic positions of each cluster of Acts, which was illustrated on the Massing and Circulation pages. The section also shows the structural integrity of the project which was inspired by German architect Frei Otto’s tree-like structures.

This project was my final project of my final year in undergraduate studies, I have mixed emotions about the outcome. As I was happy with the design, the notions behind the design, and the path I took to get there. I was not happy however, with what I produced in order to express my design, as I feel like I did not give myself enough time to create the drawings I set out to accomplish. Whilst I liked the drawings I did create, I didn’t manage to consolidate a set of plans for each floor, which was my major downfall. The model I had been using in Rhino played a large part in the slow time process as it was too large, and it made it unbareable to navigate through which also led to some of my ‘Scenes’ not being finished.

If I was to have another chance to complete this project again I would seriously consider the workload I give myself as I believe I had too much work to do within the timeframe. Since being in practice for over one and a half years now I have a better understanding of my capabilities, what I am able to achieve within a certain timeframe, and what is necessary for a complete set of drawings.

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C

URBAN VALLEY

PERSPECTIVE PLAN

CONSTRUCTION DETAILS

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TINY HOUSE COMPETITION

A

2020

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1. Roof Detail to Gutter Detail

Temporary sinusoidal zinc skillion roof with overhang (fitted when form is low-level low-density community) leading down to aluminium gutter, connected to rainwater collection network, fixed over cladding to the 100mm thick carbon-negative Ferrock roof slab over external cladding.

ii

This competition was set up by the Architectural Competition Organiser, Bee Breeders. They organise many competitions in varying sectors, size, and scope. The competition I entered with my friend from university was to make a tiny home. The requirements were to design a home within a 25sqm space, with special consideration to being off-grid, enviromentally friendly, and space efficient.

LIVING IN LONDON STATISTICS

2. External Leaf Detail

Shiplapped vertical larch cladding treated to silver (with two fixings per 100mm board at each batten) fixed to 20x40mm horizontal battens at 400mm spacings fixed onto OSB panel with inner waterproof membrane inner layer and a breather membrane outer layer.

DESIGN FORM DEVELOPMENT

3. Internal Leaf and Entrance Detail

B

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2

The interior is lined with a 25mm lightened birch plywood fixed to the inner leaf 12.5mm OSB covering the stud wall, insulated with wood-fibre insulation, and external pocket door (front-door entrance) placed along a vacuum forming runner along the lintel and floor.

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4. Ceiling Detail

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Holding up the Ferrock slab is a series of 200mm tall 100mm wide posi joists1, in-filled with pre-fabricated wood-fibre insulation, fixed onto 200x100mm perpendicular junction joists. Inner leaf 12.5mm OSB fixed onto posi joists with 25mm birch plywood interior lining.

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3 Rationalise

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B

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3

B

1. Bathroom Floor Detail

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C

ii

10mm plywood subfloor, fixed to posi joists, topped with 2.5mm of dry-set mortar, 5mm cementitious backer unit (CBU), an additional 2.5mm of dry-set mortar and 3mm deep, 200x200mm black bathroom floor tiles.

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ADAPTABLE COMPARTMENTS

2. Bathroom Wall Detail

3mm bevelled edge wall tiles on 2.5mm dry-set mortar, 5mm CBU, an additional 2.5mm of dry-set mortar on15mm OSB fixed to 50x50mm studs backing onto 12.5mm OSB finished with a birch plywood exposed finish

Partition

PERSPECTIVE SECTION

C

3. Underfloor Detail

Posi joists spaced under W/C and corridor to allow space for water tank and pipework with additional space under the corridor to allow for a drawer for extra storage. This is mounted and fixed onto a halfdepth Ferrock slab.

A

4. Kitchen Internal Floor Detail

25mm herringbone birch plywood floor finish fixed to OSB on posi joists at 400mm spacings infilled with insulation, pipework, central underfloor heating and generator (connected to solar thermal panels using hot water for underfloor heating and/or transformed into electricity).

Stagger

5. External Floor Detail

100mm Ferrock slab with 200x100mm joists running the width aligned at junction with adjacent joist creating the rise in form, insulated with wood-fibre.

C 1. Green Roof Detail

Tessellate

Vegetation planted in 50mm substrate with 5mm filter layer placed over 17.5mm drainage layer all mounted on a protection matt lined with a waterproof membrane

B

2. External Leaf / Parapet Detail 1

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2

1

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3. Ceiling Detail

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3 5

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Growth

TECHNICAL DETAILS 12

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B

Parapet with cladding detail fixture (refer to A2 detail) constructed from timber 200x100mm joist lined with waterproof membrane covered by aluminium flashing.

C

200x200mm posi joists spanning living room / study space allowing for electrics (for lighting and general appliances) and second rainwater collection route running from green roof down into filter/collection tank leading to boiler and into main water tank (moderating drainage layer from overflowing or terrace from flooding). Excess space infilled with wood-fibre insulation. All fixed to perpendicular ceiling corner joist supporting 100mm Ferrock slab at its top with the 25mm birch plywood ceiling finish suspended from both timber and posi joists.

4. External Door Detail

Non-load-bearing external concertina door folding outwards so as to not intrude upon compact living / study space.

OFF-GRID UTILITIES Our design includes a totally Off-Grid water, heating & electricity system which can be easily maintained. Including a Solar Thermal system which transforms water from cold to hot to be used for appliances, and also convert heat into backup electricity.

An intricate circuit of water pipes which recycle and filter internally used water are used to minimalise water wastage. A Low-Noise generator is used as the primary source of electricity which powers all the sockets and internally fixed electrical

ENVIRONMENTAL STRATEGY 1. Green Roof 2. Sloped Roof for Rainwater run off 3. Solar Thermal system 4. Water Tank 5. Immersion Heating Tank 6. Electric Shower 7. Low-Noise Generator 8. Kitchen Sink 9. Bathroom Basin 10. Composting Toilet

Key:

Cold Water Pipe Hot Water Pipe Water Filter Water Pump Water Flow

Our aim is to create a self sustainable micro-home community, through minimising the demolition of building over the life-span of a site through developing micro-homes that can organically grow in scale to align with the natural urban growth of a site, and naturally grow to accommodate the demand for housing that comes with population growth and urban sprawl within major cities.

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COMPETITION REFLECTION 8

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This project was fun to do especially with a like-minded student I’m friends with, as it was different experience to critique both of our ideas and work. The overall notions of the project were strong in my opinion, however the end product could’ve been better portrayed as we both agreed that this area needs to be improved on both of our behalves.

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WORK IN PRACTICE

STAGE 1-5 DRAWINGS

WILLIAM SAUNDERS & DAY ARCHITECTURAL

Fig 10.2

I have been invloved on a vast range of drawings through stages of 1 - 5 which has allowed me to gain a huge understanding of the process of how, in essence a building is created, and the roles the architect plays in each stage. I’ve been involved heavily in the project shown below, a 15 storey residential apartment complex in the heart of Preston.

2019 - 2021

DESIGN AND ACCESS STATEMENTS & BID DOCUMENTS Fig 10.1

I have been given the responsibility of creating, populating and create drawings for a Design and Access Statement on numerous jobs. Been given this task to do has allowed me to understand what is elements, sections and drawings are required for a successful planning submission on varying jobs. On top of this I have learnt what is needed for successful bid documents, as I have been made responsible for the collation and creation of drawings, text and formatting for several documents. I also have a better understanding of the importance of formatting the pages correctly, and to ensure that the images used in the documents portray exactly what we want to show.

Fig. 10.1

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Fig. 10.1

STAGE 2-4 DRAWINGS

TENDER PACKAGE

Fig 11.1

The following drawings are part of a tender package I created for an Interior works project for local contractors.

The Setting Out drawings are produced as design intentions for contractors on site. The work had to be completed over a two week period for contractors to start and finish on time. I was given the responsibility to complete the task due to numerous colleagues being absent. The task was completed to my best ability using Revit and the project architect was very pleased with the outcome. The setting out drawings were for a wooden batten interior clad which was given to us to consolidate from another consultant. I took the initiative to rationalise the amount of various batten sizes, as it would take the contractors too long on site to make. After this was approved by the project architect I was able to progress with it throughout all parts of the building.

PROPOSED WORKS Fig 11.2

This proposed works drawing entails a list of everything else which isn’t picked up in the other supplementary drawings, that aren’t major works. The building regulations notes were integral to the drawing as it ensured the design met with the correct building regulations.

DRAINAGE Fig 11.3

Fig. 11.2

The drainage drawing was integral to the package as we needed to ensure that the contractors were able to complete plumbing works. We tried to ensure that the easiest and cheapest option was available to our client.

INTERIOR FINISHES Fig 11.4

The finishes drawing was to ensure that the contractors were able to complete this task and be understanding of the clients desires when it came to it, as the client was still unsure what finishes they wanted in certain parts.

WORKPLACE REFLECTION Fig. 11.3

Fig. 11.1

Whilst working for at least a year at each practice, I have gained a huge amount of experience and knowledge which I know I can use to enhance my output throughout my architectural career. In the first practice I worked for, I was involved in several jobs in varying sectors and was closely following the architects roles to gain a more vivid understanding of the responsibilities and tasks an architect should undertake. This set a great foundation to hit the ground running at my current practice, where I work in a fast-paced commercial, residential and education enviroment. I have been able to explore a range of presentational techniques, solidify technical knowledge, and gain a further understanding of the process through the stages in the RIBA plan of work.

Fig. 11.4

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