Basil Spence 2010
Fold Strand Node A film institute for Spike Island
Group 22
A Ben Morgan Jones
Contents 1 Inception
2 Evolution
3 Denouement
06
The Team
22
Resolving Issues
54
Final Proposal
08
Initial Reaction
24
Unifying Scheme
56
Final Crit
10 Early Progression
26
Exploring the Roof
58
Feedback
12
Using the Found
28
Node
14
Heart Space
30
Fold
60
Conclusion
16
Interim Crit
32
Community Strand
34
Restaurant Strand
36
Core
38
Utilitarian Palette
40
Fenestration
42
Timber Skin
44
Landscape
46
Environmental Strategy
48
Structural Strategy
50
Tectonic
03
Inception 06 The Team
08 Initial Reaction 10 Early Progression 12 Using the Found 14 Heart Space 16 Interim Crit
“Read the directions and directly you will be directed in the right direction” Doorknob Alice in Wonderland, 1951
The Team
From top down:
The team was an eclectic mix of three architecture students; Myself, Rich Winter and Sarah Firth, and one civil engineer; Jake Smith. With both Richard and Sarah recently returning from studying abroad in
A Sarah firth A Richard Winter A Ben Jones E Jake Smith
Munich and Delft respectively. We as a team were very keen to learn and understand the new methods of design and knowledge that our peers had learnt and developed over the last year, whilst also aiming to gain a further insight into the working relationship with the engineer Jake, to aid in the grounding and realisation of our ideas.
Working Strategy After meeting up over the summer, our strengths and weaknesses became very evident. A clear working strategy and individual roles within the team soon developed instinctively. With strengths in sketching, model making, CAD, visualisations, detailing and structures, we were very confident of our ability to produce work of a high standard at a fast pace.
Design Ethos It was clear from early discussions that as a team we aimed to create a beautiful scheme that was very “real”. A building that could be constructed and function within the community, whilst achieving a high level of architectural, environmental and structural aspirations.
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“Architecture should speak of its time and place, but yearn for timelessness.” Frank Gehry
Initial Reaction It was clear that during the infancy of the project we as a team were unsure how to react to the brief, it took time for us to properly form any strong ideas or concepts about film or the site. Initially a long duration of our time was spent analysing the history and tectonics of Spike Island, as well as the ideas of film and society. With a great interest in film, I felt that a deeper level of meaning within cinema could guide the project into finding its roots. But as we progressed down this passage as a team we Influential site forces
became ever more increasingly interested in the depth of the existing and future forces that shape Spike Island, this very unique somewhat pivotal location between Southville and the city centre. Thus our attention naturally developed around Spike Island’s new cultural and urban agenda.
Adaptive Reuse The earliest of our reactions to the site was that of adaptive reuse. It seemed to be an instinctive move after analysing the history of the site and surrounding buildings. For us it seemed an insult to Spike Island not to reuse and adapt the assets that were available.
Film Our approach to film arose from a desire to integrate the scheme within the community. I consider it a somewhat limited cinematic ambition, that simply develops on the isolated experience of watching a movie in the cinema and approaches it as if it was akin to a public art and thus a cultural record of our cities and their progression.
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Found Objects The first steps of the scheme was to identify the nodes of the site which provided strong influential force or could be adaptively reused (Guinness Shed, Goal House, Train tracks, Cranes, Wapping Wharf, MShed and MShed Square), we named these our found objects.
Early Development
Initial Concept Model
Our first instinctive design move was to connect to the Guinness shed and create a second external public area. This idea sparked from an initial sketch produced by Sarah, which captured our aspirations for adaptive reuse and connections with the community. From here we proceeded to introduce our new nodes, the cinemas. These would act as anchors for the rest of the scheme to develop. Pre Interim crit the only fixed cinema was the large 750 seater, which was located due to pragmatic decisions dictated by the topography of the site. The theoretical and material language of the other two new nodes was then strongly debated for some time. Our greatest issues at this stage were the relationships between the two external public areas and the connections to the found objects. Early development was a very difficult process without a strong underlying concept to guide, the scheme frequently underwent many unnecessary large and small iterations.
node |nōd| noun: 1a point at which lines or pathways intersect or branch; a central or connecting point ORIGIN late Middle English (denoting a knotty swelling or a protuberance): derived from Latin nodus ‘knot’
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Early development stages 1. + Connection with Guinness Shed 2. + Potential entrance location - Unpleasing geometric relationships 3. + Programmatic use of instetisous space + Location of recording studios - Definition and clarity of public spaces 4. + Gateway defining boundary of public spaces 5. + Relationship of restaurant and external space - Unpleasing geometry
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Using the Found The ambition for adaptive reuse quickly materialised with the reworking of the Guinness shed. With an aim to create an external public courtyard to complement the Mshed square, we proposed a bridging element that would connect to the Guinness shed. Acting not only as a gateway to our main entrance (allowing the existing train line to function without modification), but also as an outward gesture to the city of Bristol. With all tutorial feedback extremely positive, we were confident that our aims of this proposal were correct. But the method of this strong architectural gesture had to be heavily discussed and explored, with major concerns about the impact on the Guinness shed. The programmatic aspects of our bridging element and Guinness shed seemed to work effortlessly for us. With the Guinness shed naturally becoming our public offering of exhibition space and cafe that aimed to serve transient traffic, the bridging element, accessible from the both the Guinness Shed and main complex, simply became an extension of Guinness Shed exhibition with informal learning spaces created due to requirements of circulation.
Sketch of Informal Learning Space Investigatory relationship models Section model of Guinness Shed Development sketch of circulation Initial proposals for Guinness shed
Below Early site section Opposite Initial sketches of central core Development model Herzog De Mureon precedent Investigation into southville elevation
Heart Space With the initial aspect of our project stating to form nicely, we turned our attention to the heart of our scheme. It seemed appropriate to try and develop our ambitions for integrating film and the community within this central space. Setting out with the intentions to create a very impromptu space, similar to that of the Turbine Hall. One that could be easily adaptable for cinematic and community use (reminiscent to the adaptability of Spike Island), whilst also continuing to fulfill the needs of the general movie experience (light, security, access and ticketing). We became very interested in this idea of a space that was the core of the scheme, centred between the new nodes it seemed poetically ideal considering the importance that the site played as the centre between the city and Southville.
Pre Interim Crit With the early difficulties that we experienced finding our feet, the week before the interim was still very much a discussion stage for us as a group. We were still searching to understand how the new nodes and the rest of the program should react with the site and city. Although an early plan had been formulated, a certain level of depth was still unexplored, but all aspects of the scheme had been roughly discussed and outlined.
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Interim Crit
Ground Floor Plan
The plan for Interim crit, somewhat rushed, did encapture our all our initial desires and decisions for the project. Although at the time there were certain areas that we as a group were very unsatisfied with. Attempting to positively react to the new Wapping Wharf development
- Location of ticket booth and offices - Arrangement of cinema entrances - Acute angles created through layout + Bridging structure + Core space + Creation of shelter
and build upon the establishment of the new masterplan, the new nodes were located in a fixed position that at the time unconvinced, we believed adequate for the interim crit. The restaurant and bar had then been located to the front of the scheme to form a relationship with the courtyard, with an overall aim to animate this “public” space. We had chosen to situate the Mediatheques and Recording Studios to the rear of the scheme, creating a symbolic and practical connection with Southville. A secondary quiet external public space was subsequently created to the rear of the scheme to act as a buffer zone to Cumberland road and thus provide a community garden. Whilst we were using the Goal Stables we chose not to physically connect, respecting its grade two listing and producing a new transient route through the site. The material aspects of the scheme were causing us some major issues, with several disagreements within the group, this area was still unresolved come interim crit. But we had all agreed on an overall goal of pursuing a material that belonged to Spike Island, that could be sustainably sourced. The environmental side of our project was very much in it early stages, with only a basic integrate outline proposal for the use of a stirling engine and an open source heat pump presented. Structurally a solution had been investigated but since the project was in such a limbo state nothing had been resolved.
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“Creativity is allowing oneself to make mistakes. Art is knowing which ones to keep.” Dilbert Principle
Feedback The critique panel were very enthusiastic and encouraging about our scheme proposed, with a general consensus that it was in essence a collection of nodes and interweaving strands. Whilst they questioned what was to become of the roof and materiality of the scheme, their general opinion was that the nodes and strands should have a material language of their own, which should not be allowed to breed or amalgamate. They were very interested in the core of the scheme, being particularly seduce by Sarahs internal sketches and our design intentions. With regards to us bridging the Guinness shed, opinions were split. One member of the panel went as far to say that he felt very uncomfortable about the decision to crash through the shed, believing it to be a clumsy move. Whilst others felt that it was a bold confident statement. Environmentally the opinion was that the outline strategy presented was a very valid and realistic approach that had great potential. Whilst structurally and tectonically they understood that we were behind in our solutions and decisions, suggesting that the introduction of a structural grid could aid in the further developing of the scheme and its roof. But the most positive feedback from the crit was that surrounding our working method, enthusiasm and our ambitions for the project.
Personal Opinion Because we as a group hadn’t explored our scheme in-depth enough ourselves, we all considered the interim feedback although positive, generally rather irrelevant, but developable. One of the main aspects that Sarah and I were ever so disappointed in post interim crit, was the locating of the restaurant and bar. Although not mentioned during the interim crit, we felt that it stifled the project and prevented the plan from flowing. We believed that this, along with the location of the nodes was our greatest downfall, that needed to be addressed quickly.
First Floor Plan - Location of restaurant - Vertical Circulation - Acute angles created through layout + Outward projecting gestures
Evolution 22 Resolving the Issues 24 Unifying the Scheme 26 Exploring the Roof 28 Node 30 Fold 32 Community Strand 34 Restaurant Strand 36 Core 38 Utilitarian Palette 40 Fenestration 42 Timber Skin 44 Landscape 46 Environmental Strategy 48 Structural Strategy 50 Tectonic
“Neo, sooner or later you’re going to realize just as I did that there’s a difference between knowing the path and walking the path.” Morpheus The Matrix, 1999
Resolving the Issues Unsatisfied by the level of detailed feedback that we obtained during the interim crit, we soon sought a tutorial. During this tutorial our concerns about the flow of the plan and the locations of the new nodes were confirmed. But more interestingly the relationship between our scheme and adjacent pedestrian street was questioned. It was suggested that plan offered a rather uninteresting facade to this very public thoroughfare. Thus our next step was to go back to a smaller scale, where we were able to produce several very basic iterations that could be quickly judged. Through this process we were able to swiftly
Above & Opposite Arrangement investigation iterations
resolve a basic solution that we could develop upon further.
Location of Nodes Our issues regarding the location of the two smaller cinemas was resolved once we reconsidered the history and pragmatic locating of the existing found objects. These existing nodes were positioned to respond to their individual boundaries, hence we considered following this prescripted rule the logical and most appropriate step in introducing our new nodes.
Flow of Stands After reflecting on our most recent feedback, the flow of the plan was solved by considering the scheme as three separate strands (exhibition, community and restaurant), by relocating the restaurant strand to address the issue of the pedestrian street facade, we successfully produced a basic solution that satisfied.
strand |strand| noun: 1a thin length of something such as thread, fibre, or wire, esp. as twisted together with others 2 an element that forms part of a complex whole ORIGIN late 15th cent.: of unknown origin
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Unifying the Scheme The next step in the development of our plan was undoubtably the defining moment of the scheme. Up until now we as a group had not questioned the idea that the scheme was a holistic mass. But once we had resolved the basic plan, Richard was convinced that the strands and nodes should amalgamate. Becoming unified through form and material, thus defying what was advised at the Above Exploratory model Opposite Basic plan highlighting debated junctions
interim stage. Whilst I myself believed that the project should be convinced as two separate identities in theory, form and material. At the time I was personally worried that if the project was to amalgamate then it could turn into a large homogenous mass without definition. Whilst Richard was unconvinced by the dual materiality of the scheme and the practicality of the junctions between the strands and nodes, believing it would result in an awkward and messy solution. Having two strong arguments the project struggled to progress, with Sarah and Jake stuck in the middle we as a team simply could not decide on how to proceed. Understanding that both opinions were equally merited, but would result in completely different outcomes. Eventually one tutorial was to be the deciding factor of the scheme. It was suggested that by amalgamating the nodes and strands, we would be able to obtain a much more realistic result, that had a greater potential to be further developed. On reflection I understand that this was the moment where we as group let go of the concept and let the building start to work for itself. On hindsight I see that I personally found it a struggle to let go of the concept, but now I concede that the right decision was made at the right time.
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Exploring the Roof Discussions about the roof occurred during the early stages of the project, but were not fully addressed until the basic plan was resolved. Our initial instinct was always to draw on the influences of the found objects of Spike Island and take the archetypal figure of the industrial shed in its simplest pitched roof form, developing/ augmenting it to create a roof suitable for our own scheme. We considered the only possible way to explore this development was Above Josep Llinas precedents Opposite Initial exploratory models of roofscape
through the use of experimental models exploring pitch lines. From here the idea of using the pitch lines of the roof as a method of way finding within the strands came to light. It created a roof that linked to the fundamentals of the plan proposed, whilst also in my opinion developed an incredibly rich and detailed roofscape. At times due to its complexity and time constraints, we were very slow to progress in the understanding of the roof and frequently pondered the idea of ditching the pitch, but with Sarah’s ambition and determination to make it work, the basic roofscape was eventually understood, enabling it to be developed and refined further.
Reforming the Working Strategy Due to the importance and intricacy of the roof, we as a group decided that from this point on we would split into two teams. With Richard and Sarah resolving the roof in detail, I would concentrate on refining the plan and developing the structure and environmental aspects of the project. We would then meet up at adequate stages to discuss the development .
fold |fĹ?ld| verb [ trans. ]: 1bend over on itself so that one part of it covers another noun: a form or shape produced by the gentle draping of a loose garment or piece of cloth ORIGIN Old English falden, fealden, of Germanic origin
Below Form development modes Opposite
Nodes The developed forms of the nodes were dictated by two forces, functionality and environmental (explained on page 78). With the structural grid of the cinemas established prior to the interim crit, allowing structural and geotechnic investigation to proceed, the basic proposal was developed through model and plan exercises to explore the impacting forces, ensuring aesthetic and practical values were maintained. The main challenge was to ensure all cinemas could be easily controlled, thus reducing the staffing requirements. For the budget and luxury cinema this was an easy achievement. With only the requirement for a single entry point, access could be monitored on the door. But the Large 750 seater that was split over two levels required a much more complicated solution. The result was the enclosure of the vertical circulation to the upper tier within the cinema form. This therefore created a controllable single entry point on ground, but required further investigation into fire evacuation. This circulation was then incorporated with the environmental strategy to provide a stack ventilation chimney to naturally ventilate the core space. Thus giving definition to the cinema form. This form was then developed for both the budget and luxury cinemas which were to be environmentally used for ventilation and rainwater harvesting respectively.
Final circulation developments
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Roof development models Model of final roof
Fold The most important aspect of the development that Richard and Sarah explored was the treatment of the junction between the cinema nodes and the roofscape of the strands. In the initial proposal prior to unifying the scheme, the nodes and strands were clearly defined in the vertical aspect, but once we started to develop the scheme into one mass this then began to feel awkward. The solution was a very elegant and simply option. Since we still wanted to create some definition of the cinema blocks it was decided that the roofs would meet, but a defining corner would appear to be lifted up, revealing a small amount of the cinema block. The roofscape thus felt unified with a suitable level of definition.
Community Strand The most complex programmatically (including mediatheques, recording studios, breakout spaces, classrooms and film archives), this strand aimed to embody our ambitions for community use and integration. With an early desire to create a similar outward gesture to Southville that was present to the city centre, we started to explore the possibility of the end elevation projecting out above the existing boundary wall, thus creating a shelter below. All tho Community strand development sketches
this was a nice idea it struggled aesthetically, appearing clumsy and forced. Hence as a group we concluded that this would be resolved via alternative means. The programmatic arrangement was a very logical sequence, relating to quiet zones and services within the building. The recording studios and classrooms naturally belonged the furthest away from the core, whilst the mediatheques and libraries, desired to be used by both areas, acted as a buffer, split over two levels with a visual relationship with the exterior public garden and Southville. An original idea of projecting the mediatheques through the skin of the building had been originally present, but was lost through development of the scheme. The early ambitions for the film archive was to incorporate it into the public domain making it viewable and accessible throughout the scheme, but the early developments of this idea were not practical and created problematic issues regarding building environment. Hence the archive was eventually located to the rear of the scheme, with a simply visual gesture to aid in the integration with the community. Vertical access and services played a major role in the development of this strand. With an aim to create a clean vision of the community strand from the core, services and access like lifts were eventually smuggled into the form of the cinema blocks.
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Development stages of community strand 1. + Creation of shelter beneath projection - Connection to Gaol Stables 2. + Relationship of mediatheques to facade + Creation of service access - Practicality of archive - Location of vertical circulation 3. + Relocation of vertical circulation - Mediatheques undeveloped 4. + Development of film archive 5. + Programmatic arrangement of first floor
5.
Restaurant Strand This in essence should have been the easiest of the strands too refine, requiring a restaurant, kitchen, toilet and bar over two floors, it had to only too relate effectively with the new public street and the central core. The basic layout was very easy to Restaurant strand model
resolve, the ground plane reacting to the gradual step up across the site was to remain very clear with only the bar present. It thus had the maximum opportunity to flood out onto the public street, drawing in interest from transient and retail traffic. The first floor was to incorporate the kitchen and toilets to the rear of the strand enabling the dinning area to have full access to the street facade and core balcony for views. This creating visual relationships that would aid in the connections with the public domain. A very simple but effective strategy, the issues only arouse when we considered vertical access and circulation. With early developments the circulation of the ground plan started to become very congested around the north end of the strand, with major problems involving cross circulation from the entrance of the restaurant strand, budget cinema and vertical access. Attempting to resolve this by altering the location of the vertical access to the restaurant resulted in a cleaner circulation diagram, but the plan began to become stagnant it is flow. The restaurant strand once again started to feel like an addition to the plan. After several very frustrating tutorials, variations were developed to attempt
“The long path from material
to resolve this issue, but it was found that it was unachievable
through function to creative work
in isolation and it was only until the refinement of the core was
has only one goal: to create order
reconsidered that the restaurant strand was finally resolved to a
out of the desperate confusion of our time. We must have order, allocating to each thing it’s proper place and giving to each thing is due according to it’s nature.” Ludwig Mies van de Rohe
level of satisfaction.
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Development stages of restaurant strand 1. + Location of restaurant strand entrance - Congestion created near cinema entrance 2. + Location of bar + No disabled access 3. - Congestion at top and bottom of ramp - Poor location of vertical circulation 4. + Clarity of open plan - Congested circulation at main entrance 5. + Arrangement of first floor ancillary program + Restaurant relationship with core
5.
Core The refining of core was the pivotal point of the development of the plan, where the scheme finally became one entity. The main issue that had hindered the project from its early stages was the need to increase 4m across the site, but more importantly the need to increase 1.5m to the restaurant strand. The initial approach was always to use a complicated series of ramps and stairs to combat the grade, but a tutorial questioned an alternative solution which not only unified areas of the plan but also the scheme as a whole, linking the moves of the roof with that of the ground plane. The idea was simple, instead of perceiving the ground floor as a series of flat planes, we were too consider it a continuous buckled rise (with minimum falls of 1:20). One that would fall and increase to meet certain points in the plan such as entrances and cinemas. This plane would fold in relation to structural column lines that were picking up the forces in the valleys of the roof pitches, thus linking the two folded planes. This solved the central complicated circulation and created a very flexible clean space. Once this was achieve it was clear that the arrangement of this central space felt unbalanced, although the cinema entrances worked well, the strands did not, with the restaurant strand causing the issue. After an individual tutorial the issue was resolved with the simplest of moves, which was originally neglected due to myself attempting to resolve the restaurant strand in isolation. The vertical access to the restaurant was brought into the core to balance the plan and thus unifying the scheme.
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Development stages of core 1. + Vertical circulation from strands 2. + Development of cinema entrance relationships 3. + Location of food and drink stand - Congestion from access to restaurant strand - Internal core circulation 4. + Smuggling of ancillary program and services + Development of vertical circulation to restaurant 5. + Buckled floor plane + Development of space beneath luxury cinema - Entrance Lobby from exhibition courtyard
5.
Utilitarian Palette With a strong interest in Spike Island it seemed only right to continue the found utilitarian palette of the site. The decisions on materials although somewhat drawn out through the development of the project resulted in a rather instinctive choice of Zinc, Steel, Concrete and Timber.
Anti clockwise from top left: Pre-patinated zinc Hardwood timber thinnings In-situ poured concrete Galvanized steel Red clay brick of MShed Corrugated steel of Guinness shed Structure of Stothert & Pitt cranes Local Stone of Gaol Stables The Floating Harbour
The found objects were the most influential force in choosing the palette of the new building. With a variety of durable materials ranging from brick to corrugated steel, we had to acknowledged that these were naturally to become part our own palette and hence needed to be related. Sourced from recycled material with an average energy consumption of 10% less than that sourced from ore. Zinc seemed the ideal solution. It was a recyclable, workable, durable, and efficient, but more importantly complemented the existing material language of Spike Island. Chosen because of its utilitarian aesthetic, environmental credentials and overall practicality. In-situ concrete produced from fly ash and locally sourced aggregate was a durable solution that aided in the regulation of internal temperature through the exposure of the thermal mass. After visiting the V&A small builds exhibition, we as a group developed a strong interest in timber thinnings. With the ability to be sourced from 14 local forestries that were within feasible proximity to the site, we aimed to use a resource that would otherwise be considered waste. With a desire for internal use we felt that this was a strong gesture to our environmental ambitions for the project.
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Fenestration With the completion of the roof design, our working strategy developed once again with Sarah and Rich turning their attention to the fenestration. An incredibly important aspect of the project Above
it created some very interesting discussions and disagreements.
Exploratory fenestration model
With us working as a whole in the early stages to decide on the
View of final model restaurant entrance
correct direction to proceed, opinions were split on the nature
Opposite Development elevations Sketch of bridging facade Final presentation elevations
of the openings. My original proposal to the group suggested the idea of considering the exterior skin as a skirt that would be lifted to create openings. These openings for the strand and nodes would reveal a secondary skin of curtain walling or concrete structure respectively, therefore adding a secondary level of clear readable detail to the exterior of the scheme. Whilst Sarah favoured more for the traditional approach of glazed units of various dimensions and styles to relate to internal use. The final result was achieved after a series of elevational experimentations and a rationalisation process that explored both directions. Eventually it was concluded that we were to resort to Sarah’s ambitions of a more traditional approach to the scheme, that in hindsight I understand was more truthful to the typology of Spike Island. From here Sarah and Rich developed the fenestration through several ideas and tutorials resulting in the creation of four simple rules; Louvered timber openings for entrances and skylights offering a suggestion to the internal finishes, box windows for the strand end elevations to create an outward gesture, large landscape openings to internal spaces which demand a strong connection to the public domain, and regular rectangular windows for other standard requirements.
“An elegant solution for keeping track of reality.� Ariadne Inception, 2010
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Investigatory model of timber qualities Visual conveying proposal of reliefs
Timber Skin We originally decided to use timber thinnings to create an internal skin that would architecturally develop on the utilitarian aesthetic of the exterior, creating some warmth within the internal spaces. With our early models and drawings showing the complete interior of the project to be clad in timber, we as a group started to worry that this aesthetic was too over powering. This concern was confirmed later during tutorials. Our eventual solution was to refine our interior skin and only clad the cinema nodes, both on the inside and the outside, thus creating an interior spaces that was readable. This interior skin was backed with acoustic felt, to aid in the acoustic requirements of the cinemas internally and the core space externally, thus the use of this skin was not of simply aesthetic value. The idea of etching faces into the timber skin arouse from a project that Richard had developed whilst in Munich, we felt that this idea brought some relevant character into the heart of the scheme, making it rich and interesting.
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Below Proposal for use of cranes Opposite Landscape development plans
Landscape The general development of the external landscaping was very straightforward. Broken down into four different zones the landscape had to respond to the plan that had worked hard enough to dictate the atmospheres. The rear of the scheme was always intended as the quiet community based external space. Surrounded on all sides and south facing it developed into a leafy public garden with subtle changes to the boundary walls to create an entrance off Cumberland road. The pedestrian retail street proposed by the wapping wharf masterplan became a stepped paved area as a reaction to the interior bar spaces flowing out into the public domain. With external seating, the feel of this street was always to be one of a busy fast retail nature. The front public landscape space was used to aid in terminating the end of the public courtyard, although there was a train shed present, it was felt an unsatisfactory way to end this space. External seating was incorporated to service the cafe located in the Guinness shed and a unified paving finish was introduced to create a flowing scheme. Finally the development of the Mshed square was one our initial reactions to the found objects, with a desire to reuse the existing cranes to create an external cinema screen, which could be viewed from the square and possibly Lloyds plaza, it seemed a perfect outdoor cinema. Although this was included within our scheme we never truly addressed the square, considering it to be one of our predefined found objects.
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Environmental Integration The environmental strategy was never really a continuous development, it was simply a very flexible integrated strategic plan, which could be applied to the scheme as it progressed. Jake and I developed a proposal early on in the scheme, aiming for the environmental and architecture strategy to work in harmony. Making the most of the natural resources at our disposal, whilst most importantly maintaining a high level of internal comfort.
The first part of our strategy was to use the floating harbour as an open source heat pump as a method of regulating the internal temperature. After attending a conference on the technology at the Burges Salmon Headquarters in Bristol we were confident enough that this was a realistic proven strategy for our scheme.
After several tutorials we decided that although it would be ideal to achieve natural ventilation within the cinemas, the level of comfort would not be suitable. Hence we took the decision to mechanically ventilate the nodes, but the strand spaces where feasible would be naturally ventilated. This choice to naturally ventilate the core and strands resulted in the sculpting of the cinema forms due to requirements of stack ventilation.
After a lot research and calculation we concluded that with the natural resources available at our disposal, a stirling engine would be a feasible source of power generation, satisfying all of our mechanical ventilation needs. Requiring space for solar thermals and plant there was a significant impact on the architecture.
Inflow of fresh air
Solar thermals Rainwater recovery
Stack ventilation
Heat exchange ventilation
Cross ventilation
Water into open loop heat exchange
Water out of open loop heat exchange
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Below Structural CAD model Opposite Structural plan highlighting refinements
Structural Strategy Although the structural and architectural strategies were constantly developed together throughout the scheme, they were not fully integrated till the final stages of the project. The basic structural strategy was developed prior to the interim crit, consisting of three strong boxes (the cinemas) providing lateral stability and a light steel frame (the strands) with a cross braced bridging element, the strategy was clear and effective. But with the general expansion of the core space, the strategy had to significantly modify. Jakes original ambition of a very efficient structure with small spans began to contradict our architectural developments and was not achievable without badly effecting the clarity of the proposal. After some strong discussions and investigations, a reasonable structural compromise was achieved with the addition of new structure to the core and a deeper roof span. With myself and Jake working closely together, the final development of the structural strategy was very much a give and take situation. With items such as fenestration being resolved very late on in the project, the structural strategy had to quickly adapt. The result was the relocation of lateral cross bracing from the vertical plane to within the roof structure. Thus providing more freedom for Rich and Sarah to develop the openings. The final refinement was the structural rationalisation of the plan, the proposal undertook minor adjustments to ensure the scheme worked efficiently structurally, thus satisfying our ambitions for a successful structurally integrated proposal.
Tectonic My main priority in the final days leading up to the crit was to resolve the tectonic aspect of our proposal, providing that final bit of grounding whilst elevating the architecture of the scheme through the architectural details. The choice of constructional method was a practical decision following on from the desire to create an architectural utilitarian project. The decision to opt for steel structure with a light METSEC secondary cladding system was made with the consideration of cost, construction time and carbon footprint. But the success of the tectonics was achieved through the detailing of the drainage system. With a desire to create a clean lined Zinc skin which suggested a seamless flow of roof and wall, a hidden gutter system was necessary. The result of resolving this detail forced an increase in the overall wall thickness, creating a very efficient wall construction method with a low U-Value. An original decision to hide all down pipes within the construction of the wall was questioned during a design team meeting, the result of the discussion that followed was the defining of the programmatic arrangement through the creation of a recessed open gully between nodes and strands. With all other down pipes remaining hidden this was a very successful subtle achievement, which gave extra depth to the techtonics of the proposal.
“The true secret of happiness lies in taking a genuine interest in all the details of daily life.� William Morris
Early tectonic development sketches
Perspective drainage detail
VMZINC standing seam Breather membrane 150mm mineral wool insulation Vapour control layer Structural metal roof decking Primary structural steel beam VMZINC plus gutter L2L insulation
Secondary structural steel beams Structural steel columns
Metsec Stud Suspened ceiling
VMZINC standing seam 12mm High density core plasterboard Vapour control layer 50mm mineral wool insulation
12mm cement particle sheathing board Breather membrane
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Denouement 54 Final Proposal 56 Final Crit 58 Feedback 60 Conclusion
“The thing always happens that you really believe in; and the belief in a thing makes it happen.� Frank Lloyd Wright
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Ground Floor
First Floor
+ Successful smuggling of ancillary program + Buckled floor plane - Entrance lobbies rushed and clumsy solution - Fire escape from luxury cinema ill thought out
+ Relationships between vertical ascents - South facing glazing to mediatheque facade - No lobby present to community strand entrance - Relationship of film library with rest of scheme
Second Floor
Roof
+ Creation of impromptu learning space + Outward gestures to city centre and Southville - South facing glazing to mediatheque facade - Fenestration inconsistent with structural strategy
+ Relationship of nodes and strands + Integration of environmental strategy + Use of drainage as definition of cinema nodes - Questionable quality of light from skylights
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Final Crit The final days leading up to the crit were some of the most difficult and strenuous times that we as a team experienced. Due to our numerous set backs and disagreements throughout the project we were unprepared, forced to rush and compromise minor aspects of our proposal to achieve completion. Although we were disappointed that we had not been able to fully satisfy our desires for a perfectly resolved scheme, we were aware that these compromises only needed miniscule alterations. As a whole we were very pleased with the progress of the proposal, believing it to be a comprehensive achievement. Able to quickly produce a final presentation that clearly portrayed our scheme successfully, we could explain our architectural, structural, environmental and tectonic strategies with ease. Our visual and verbal presentation was rather reminiscent of the final scheme, very subtle, displaying only plans, a range of prototype exploratory models, sketches, simple line drawings and a final model. We explained the project as a series of stages and explorations that resulted in the final explanation of our scheme. This clean and coherent presentation enabled us to fully engage with the critique panel, resulting in a positive and thorough discussion that further explored our scheme.
Above Strand diagram Opposite Final presentation model
Below Fold, node and strand illustrations Opposite Visual of internal core
Feedback The general feedback from the critique panel was very positive. With the collective opinion praising our response to Spike Island and the realistic integration of our structural and environmental strategies. Considering it a very understated but considerate architectural proposal. Although the feedback was excellent, there were several issues of concern raised about the scheme. The opinion of the critiques was that the quality of internal light achievable from the skylights would be insufficient for the core. With a consensus that an improvement should be achieved through the replacement of a whole fold of the roof with glazing. Disagreeing with the decision not to connect the independent strands at 1st floor level, the panel preferred the idea of a series of balconies that would link all three strands within the core. With the critics generally believing we should have paid more attention to the landscaping of the Mshed Square, there was an opinion that we could have chosen to neglect it and the use of the cranes completely. By concentrating our attention to the overpowering facade of the large node, it was suggested that our public square should have become our outdoor cinema.
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Conclusion With consideration to the critical comments raised during the crit, I still stand by the decisions that the three strands should remain independent due to their programmatic nature and arrangement, and that the quality of light achievable through the development of the skylight was adequate for the use of our internal spaces. Although I do agree that more attention should have been paid to the development of the Mshed Square and possibly the development of our own external cinema (if feasible), I think it would have been a bad decision to neglect the reuse of the cranes. As a team we often struggled to work collectively. With very different designing methods we tended to clash on many issues, with myself becoming frustrated at the often lack of precision of the drawn out process that developed, believing that we progressed to CAD to late in the design process and thus lost some of the detail we originally desired. But with our very different approaches and strengths complementing successfully we were able to design and produce work rather efficiently and comprehensively. I consider the project to have benefited from the lengthy discussions that resulted from the disagreements, but suffered due to the time constraints and lack of overall control. Although I struggled to progress at certain stages of the project, I believe that I fully satisfied my individual role within the team, and on hindsight I admit that I struggled to work in a democratic group. But I believe that our differences and struggles within the team resulted in becoming our strengths within the final successful proposal.
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Fin “It’s a good place when all you have is hope and not expectations.” Danny Boyle