Architecture Portfolio 2012 by Daniel Illum-Davis

My name is Daniel Illum-Davis, and I am an Architect. Unsurprising to hear, I know, you’ll probably deduce this by (hopefully) browsing through this portfolio and the selection of my projects, but it’s far more than just a one off statement. I am an Architect. I’ve lived and breathed this profession from my earliest days, where my peers would be dreaming of becoming Firefighters and Astronauts, I was certain I’d become an Architect and could think of little else that could evoke the same excitement and interest as designing could. Like many, I played with Lego, emphatically, devoting myself to little else. As I matured, this focus shifted to drawing, painting, photography and everything in-between, pushing my own boundaries in how to express myself. In 2003 I was accepted into Oxford Brookes University where I obtained my Bachelor of Arts with Honours in Architecture in 2007. From here I embarked upon a three year internship with Henning Larsen Architects in Copenhagen Denmark. I am a dual national from Birth, born in Denmark to a Danish Mother and an English Father, and eventually growing up in the UK. In moving back to Denmark for my Internship, I had hoped to expand upon my own influences and inspiration I had already developed during my time in the UK, and to explore my heritage, so closely entwined with all aspects of Design that Denmark is. After deciding to remain in Denmark and extend my internship, I was accepted into the Aarhus School of Architecture in 2010, where I obtained my Master of Arts in Architecture in 2012. My three years at Henning Larsen Architects, and my subsequent post graduate internship at Leth & Gori Architects has provided me with a wealth of professional experience. These internships have enabled me to experience a breadth of projects located across the globe, as welll as a broad spectrum of scales and strategies. I have taken part in long term projects that allowed me to experience the entire course and detail of a construction process, and competitions where I enjoyed and flourished under the fast pace, quick decisions and teamwork associated with them Architecturally I’ve always tried to use my dual background to influence and inspire my work, and I have always been interested in the juxtaposition of marrying existing with new, the brutal with organic, and expanding and pushing the experience of space, the boundaries between and blurring the perception of transition between them. Equally, I am passionate about drawing techniques and the use of mixed media and graphics to illustrate and promote projects in a unique and interesting manner. I have experience in a wide range of scales and project types, from entire city masterplans, competitions, details and small scale projects. I’ve always been very curious and pushing my own boundaries, and this is reflected in my work ethic and drive, always wishing to seek out new and exciting projects, and applying new techniques, materials and experiences to them. I hope you enjoy looking through this portfolio which shows a selection of my work over the past three years, mostly focusing on my master’s degree at the Aarhus School of Architecture.

An Introduction >> Portfolio 2012 - Masters projects between 2010 and 2012 and a selection of competition and professional projects from 2007 to 2012 <<

Name: D.O.B: Nationality: Address: Telephone: E-mail: Website: LinkedIN:

Daniel Illum-Davis, Architect MAA 14-12-1984 Dual Nationality - Danish/English Øster Søgade 32 5tv, 1357, København K, DK +45 28 46 77 78 did@illumdavis.com www.illumdavis.com daniel illum-davis

Education Aarhus School of Architecture, DK

January 2010 - January 2012:

Studied under the masters program at the Aarhus School of Architecture, graduating with a Master of Arts in Architecture (Cand. Arch/MA) in 2012, obtaining a grade of 12/A Oxford Brookes University, UK

September 2003 - July 2007:

Studied under the bachelor program at the School of the Built Environment, graduating with a Bachelor of Arts in Architecture (BA) in 2007, obtaining a grade of 2:2 with Honours Professional Experience

Leth & Gori Architects, DK

May 2012 - June 2012: Four week post graduate internship (virksomhedspraktik), working closely with the two partners and another architect on a variety of short term competition projects. Primarily spent the internship designing a series of concepts and final bids on an invited competition for a pair of kindergartens and day care centres in Copenhagen, working alongside Erik Møller Architects. August 2007 - January 2010:

September 1996 - June 2003:

Obtained a General Certificate of Education (A Level) in 2003 in General Studies (A), Geography (B), Maths (C) and Physics (C) and a General Certificate of Secondary Education (GCSE) in 2001, studying various subjects (Grades 1 A*, 6 A’s and 3 B’s) Relevant Skills Software:

Henning Larsen Architects, DK

Initial one year’s internship as part of the RIBA part 1/2 exemption, extended contract to full time employment, working on a wide variety of projects, from small scale detail projects, to large scale masterplans and competitions. Worked both as a part of a team, and on smaller one man projects.

Nottingham High School for Boys, UK

Media: Languages:

Expert User: Adobe Package, especially Photoshop Experienced: Rhinocerous 3D, VRAY, Auto CAD, Microstation Some Experience: Grasshopper Sketching, Drawing, Draughting Fluent English (Mothertongue) and Danish (Reading, Writing, Spoken)

Marsh and Growchowski Architects, UK

Professional Associations

Unpaid summer work experience at a local practice. Experienced site visits, small and medium scale projects, as well as an introduction to various tools and techniques employed in the industry.

January 2012 - Continued:

Registered member of Danish Architect’s Association (Arkitektforening)

January 2012 - Continued:

Member of the Danish Architect’s Union (Arkitektforbundet)

July 1999 - August 1999:

Freelance Experience January 2007 - September 2010:

UK Simulation Ltd, UK

Director/Co-Owner. Mentored by Bohemia Interactive Simulations, contracted by the British Ministry of Defence to create 2D and 3D resources for a training software package for the British Army.

Awards and Achievements January 2012: May 2012:

Østbanegard’s Fund Prize for Masters final project Masters Thesis published in issue #389 of l’architecture d’aujourd’hui

Educational Works >> 01.01.2010 to 01.01.2012 - The Aarhus School of Architecture, Denmark. A summary of four projects undertaken during my two year masters course <<

Rough Housing >> 01.09.2011 - London, England - Accommodation, healthcare and learning centre for the homeless as part of my final semester at Aarhus School of Architecture << For my thesis project, I wanted to approach a subject that raises social, political and personal sensitivities, a subject that exists across the entire globe, yet is carefully swept away and â&#x20AC;&#x2DC;dealt withâ&#x20AC;&#x2122;, a subject where with a sensitive and relevant application of architecture, carefully researched and analysed, a potential future could be realised. The subject I chose, was rough sleeping in London. Homelessness in its nature is a far reaching and compounded issue, prevelant in all aspects of British society. It is, in fact, so prevelant that attempting to tackle homelessness alone would beyond the scope of any project, where a more tailored approach to specific avenues of homelessness would be a far more prudent choice. Rough sleepers presented the project with a very niche yet relevant line of investigation, especially in light of their continued habitation on the streets of London, when there are avenues of help and accomodation design for and open to them throughout the city. This reluctance to seek and enter care was the main focus of my initial investigations, aiming to seek out why so many people found it difficult to leave the streets. What followed was a series of interviews and research that led me to understand that many found the transition from street to a new and stable life hard to adapt to. Many had been in institutions at some point in their lives, and the shelters available to them, cramped, claustraphobic and insecure in their nature (no guaranteed bed and inflexible opening/closing times) reminded them of these places, and in doing so created an ingrained reluctance and almost downright fear of entering the shelters. What the rough sleepers were in need for was a shelter that could offer them as safe and secure home, a transitional space from the street to a new life, and one that offered a very real future, rather than a brief respite.

>> Facing page: Sketches of temporary homeless structures around London. Above: Early concept sketch illustrating the unfolding outer wall structure <<

>> Left: Concept models based off temporary structure sketches Below: Diagrams illustrating their architectural and spatial qualities Above: Early concept sketches <<

Covered <<

Overlapping <<

This need to provide a building that could fulfil the needs of rough sleepers, without presenting them with a daunting or frightening experience, led me to the concept of ‘recognisable architecture’. Whilst this doesn’t entail designing a large cardboard box for the homeless, what it does mean is that the project would take inspiration from the temporary structures and living conditions that rough sleepers find themselves in, and attempt to mesh these into a transitional building that slowly evolves from an open and flexible street situation into a closed and structured home. Spending time in London, and research similar structures in cities such as New York and Paris, I catalogues a series of temporary homeless structures and situations that I felt broadly represented and defined those who lived within them. I then set about analysing these structures, creating a series of abstract models in order to highly specific traits identified in each one, and then illustrating these traits further with a set of key diagrams and texts which outlined how these traits could be individually used to help create a shelter.

PRIVATE

LIBRARY

TV OW

FL NG

NI SC

SP CO RE

ST RU CT UR E

KI TC HE N

BL EW CO AT

>> Above: Whilst the facing page and below deals with the temporary structure’s individual qualities, the diagram above illustrates the potential of combining them <<

Covered <<

TE R

Layered <<

Contained <<

Eventually I set my design on a combination of a rigid and structured core based on self contained temporary structure I modeled, and redesigned based on the spatial requirements set out by the functions that would need to be located within. This rigid and structured core was joined by an unfolding and dynamic wall that allowed for a visual and identifiable transition of space, and with which one could define, yet not fully enclose space (to do so would go against the concept of providing an open and flexible structure) within which I placed the final segment, a layered and overlapping structure that loosely envelops the interior space, using a skeleton of elements that allows for various functions to exist in the same space, yet providing enough variety between private and public, protected and open so that the rough sleepers can find and create their own sanctuary within.

With these individual qualities explored and catalogued, I began to combine the models and therefore the traits in a series of ‘final’ sketch models, aiming to find a form that would both be able to fulfil the spatial requirements of a homeless shelter, be able to be architecturally and spatially recognisable for those who would live within it, and also be a visual and prolific illustration of the homeless plight, but equally an illustration about the transition from street to home, and the potential within all people.

CO R

>> Above: Cross section through the Blewcoat School and the adjoining structure, showing the workshop/educational rooms and the accommodation spaces <<

HO ME

OOL

SHELT

ME HO

SECURITY

SHELT

>> Above: Diagrams illustrating â&#x20AC;&#x2DC;suggestedâ&#x20AC;&#x2122; accommodation spaces and their arrangement and uses. Below: Collage illustrating transitional pockets through the structure <<

FACILITIES

ITY

BIL

STA

BIL

STA

SCH

CLEAN

ITY

FOOD A ND DRI NK

FACILITIES

WCO

OL HO SC

BLE

FOOD A ND DRI NK

AT CO EW BL

The interior space is dominated by the skeletal lattice of the accommodation and communal areas, which help to loosely define but not enclose or encapsulate living spaces, so that the homeless may find their own space within the structure and create a home they may feel comfortable within, be it very private or very public, be it structured or in a corner of the room. Where the folded wall transitions towards the structured core, the kitchen and bathrooms meet with the accommodation block, and in doing so create the trinity of functions that provide the essential backbone for the shelter, as many rough sleepers explain how important a warm bed, shower and food is in keeping them alive on the streets. The core itself is layered in such a way that those functions that make up the core of the facilities and are themselves more adapted to the residents, are located towards the centre and the accommodation block, whereas the medical clinic is located on the outer edges, so that it has a dialogue with the community it serves. The folded wall rises up from the plaza and envelops the core, illustrating the protective and transitional nature of the building and those who dwell within it.

CLEAN

The final structure was sited next to an old school, originally built with the intention of educating the poor and homeless of Westminster. My project would utilise this building, not merely as a host, but as an extension, and in doing so rejuvenate the building and return it to its original use as a place of learning for the homeless.

+ 0.00

Personal Store WC

Tec. Laundry

Kitchen Communal Area

Accommodation

+ 5.00

Clinic Classroom/Workshop Bathrooms

Accommodation

L2 Administration

Secure Store

+ 8.00

>> Left: Floor plans through school and adjoining structure. Right: Continuation of concept model photos showing interior structure and spaces <<

>> Above: Long section through building, showing main accommodation and communal areas. Left: Concept model exploring interior structure and accommodation spaces <<

>> Below: Visualisation from corner of Caxton Street and Buckingham Gate showing core structure. Below Right: Photos of project at the end of year exhibition <<

As part of the end of year exhibition, my project was among twenty chosen to be shown at the Aarhus Concert Hall and Town Hall, as part of the build up to our graduation. My poster boards and presentaion context model were shown in the Concert Hall between the 31st of January and the 14th of February. Our graduation took place on the 31st of January 2012, where I received my Master of Arts in Architecture, with a grade of 12/A. I was also awarded the ‘Østbanegard Fonden’ prize with the judges citing the project’s ‘Systematic exploration of these temporary structure’s architectural potential and creating a pernament shelter that creates a relevant and sensitive project that respects the end user’

>> Left: Final exhibition model photos. Below: Visualisation from the plaza side of the building, showing the folded outer shell and protected interior skeletal structure<<

Parisian Paradox >> 01.01.2011 - Paris, France - Religous Learning Centre placed within the French National Library as part of my ninth semester at Aarhus School of Architecture << In our ninth semester, we were asked to create a large, 1:10 model, of an interpretation of the proposed combination two Bow Wow projects from Tokjo. Through careful research, comparing similarities, differences and various combinations, we eventually created wedge shaped construction based on a noodle bar and a metal storage shed (shown right opposite). Following this, we were asked to individually re-design this model into three ‘buildings’, small, medium and large based upon qualities we saw within the original model. I found the model’s ability to both be open and closed, heavy and light, protector and protected and the passageway that broke through and connected these opposite states, worth exploring. The resulting models created a variety of intriguing spatial qualities, with various overlaps, divisions and ‘long views’ creating a series of connected, yet private individual spaces. These spaces allowed an observer to experience all the spaces as a totality if they were to view them from afar, yet once they were to move through the structure, these spaces would be experienced as a more intimate and private situation. In the mean time, we were given the French National Library as a site for out project. Through my observations of the site, I begun to analyse the inherent paradoxes throughout the library, where a large public plaza was devoid of people, where a public library was hard to access, and how this related to the paradoxes in my original models (open vs closed, etc). I likened these paradoxes to those found in religion, especially across the abrahamic faiths (islam, christianity, judaism) and science, and felt that creating a religous learning centre would benefit from these series of shared open spaces, that were equally private and reflective where required. This would allow for the faiths, and learning to co-exist, yet be able to find their own sanctity within the building. The library would play host to the centre, offering a protective envelope whilst rejuvinating the plaza.

Small <<

Medium <<

>> Right: Original group model. I was particularly struck by the hierachy of spaces and components, and the inherent paradoxes/opposites expressed in the structure<< Open/Light/Protected <<

Closed/Heavy/Protector <<

Break Through/Connect <<

>> Above: Collage section through the French National Library and surrounding areas, illustrating land use, functions, and population. Left: Photographs showing spatial qualities of the interiors of my secondary group models << Medium <<

Large <<

>> An exploded axonometric view of the interior spaces, illustrating how the main structure of the church spaces create a long central passageway from which the reflection spaces rotate off into their own private sanctuary. This rotation and movement away from the central passageway is continued with the library spaces moving away from the churchâ&#x20AC;&#x2122;s congregation area and punching through into the host building and creating a dialogue with the original library <<

Divided Views <<

Rotation <<

Emerging <<

Nestled <<

Intimate Space <<

Orientation <<

Porous <<

Supported <<

Height <<

Joining <<

Break Through <<

Protected <<

>> The diagrams above are a collection of the model analysis undertaken in order to catalogue the various individual architectural qualities I observed within the various second stage models. These individual qualities highlight how I felt the models could individually be exploited and used to create an interior dynamic that would both illustrate the concept of an architectural paradox, yet serve the purpose of a religious space and library space at the same time.

The various qualities range from the models ability to divide and collect space, to provide an intimate yet public atmosphere at the same time. The fracturing and rotation of the protective elements, allow orientation of rooms, such as towards Mecca, as well as allowing entry into the light and open interior spaces. The host library building is also considered, with itâ&#x20AC;&#x2122;s massive and solid foundation, it can provide a protective and structured element to the final project.

Exploiting paradoxes within the site, and the base models as well, I analysed the models both on the merits of their individual qualities (shown left) but also on their ability to be combined, to work together (shown right) and to create a series of spaces and intuitive flows that would create a religious space that would allow for the various religions to co-exist in a harmonious space, yet be able to find their own sanctuary in more private and intimate reflection spaces. The structure is located within a fire passage construction built into the base of the host building. This void within the building allows for my building to interact with its host, as well as achieving a fluctuating protected state. The orientation of spaces through the rotation away from centre, allows for Islamic Prayer due to the orientation towards Mecca, yet it also allows for the spaces to penetrate into the host library spaces, and creating a religious library area that shares a commonality with the national library, The spaces are just as applicable to agnostics and atheists, and the orientation allows the spaces to form a dialogue with the pre-existing library spaces that look out onto the fire passage, which contain the scientific collection, again exploiting the inherent paradoxes within the site to allow people to question their beliefs, their faiths and open themselves up to others. The final building combines the various fluctuating states, to create a free flowing passage where various faiths and beliefs co-exist in a fluctuating state of realisation. The architectural elements aid this by coercing the user to question their reality and understanding, using scale, distance, orientation, height and transition to distract and disorient and ultimately allow the user to clear their mind and reflect upon the spaces they are in and the people they share them with.

Base Models <<

Work in Progress <<

Up and Out <<

Cradled Space <<

Orientation <<

Transitional Scale <<

>> Long section through building, showing central passage and main congregation space on left page, to individual, intimate prayer spaces on right page <<

>> Above: Cross section through building, showing main congregation space and library area. Right: Final model photos showing various areas of the centre <<

>> Below Left: Visualisation showing main congregation space and entrance to library. Below Right: Visualisation showing central passageway and gardens <<

The Pocket >> 01.09.2010 - London, England - Bus and Metro Station combined with a Shopping and Sports Centre as part of my eighth semester at Aarhus School of Architecture << Foreign office Architects, a re-design, was the foundation of our eighth semester project, starting with a series of group exercises aimed at combining a series of previous FOA projects in a sparring of styles, and creating a physical interpretation of this affiliation. The eventual project was to be located in the City of London, near Aldgate underground station, where a planned FOA office complex had yet to be realised, and we were to revitalise an aging and disjointed community through a series of additions, changes or removals in the existing urban layout. With the culmination of our initial group work, we were to individually analyse our final model and re-design or re-use principles within to realise a fitting addition to the site. The group model was an undulating, flowing and overlapping carpet like structure that no sooner did it appear to be an organic mass, did it become structured and static along its boundaries. It was this ability to be both organic and flowing, yet retaining a structured and regular construction that struck me as being the most appealing line of analysis, and one that reflected the original group work’s ambition in its best light. I embarked upon a series of experiments, attempting to mesh these two states into a free flowing form that could adapt and integrate itself into an existing urban envelope. Eventually I created a model, or better said a tool, consisting of a regular, structured and static mesh of triangular elements that were interconnected with a flexible mesh, allowing it to flow and mold itself to objects it came into contact with, It’s dual state nature created areas were the carpet seemed to flow organically, but then became rigid and fixed when meeting an impasse in the structure below. These changes of state and flow created a series of ‘pockets’ of space between the carpet structure and the city below, and it was these in-between spaces that I wished to work with and exploit in the resulting project.

>> Initial sketches illustrating covering the existing urban context with an organic mesh, that is structured and rigid enough to create pockets of usable space below <<

1: Residential Pocket << >> The pockets, all formed by one common element, are ordered by the space they create and how the city responds to that space. The vertical space, where the carpet meets taller individual buildings, orientates itself to the private, creating smaller, personal spaces for individual buildings, utilising breaks in the outer skin to introduce the outside. The pocket spaces between buildings orientates itself to creating public private spaces, where common use can expand and intersperse under one roof. The horizontal space, where the urban fabric begins to dissolve into its surroundings, orientates itself to the public, creating space for shops, cafes, sports and other activities, as well as integrating with local transport <<

2: Sport Pocket <<

Carpet <<

3: Commercial Pocket <<

Organic Flow <<

E/W Cross Section <<

Structured Spaces <<

These pocket or ‘poché’ spaces are in fact a third state, between inside and outside, and these enabled the project to interact more successfully with the existing city below the carpet. Rather than demolishing large swathes of buildings on the site, a intervention that created a third space that these buildings could then utilise and rejuvenate their existence with created a far more harmonious solution. For example, alongside the existing bus station concourse lies the backside to a series of residential and commercial properties. In meshing the carpet structure to these, and creating a pocket between the two states, these buildings could now use the previously abandoned rear facade, creating new spaces for café service, private gardens and balconies. This third state was developed further by introducing folds and breaks into the surface to allow the two other states to interact across a common median, and the choice of a semi-transparent material on the roof structure allowed diffuse light to enter, and in doing so created contact between the outside and inside during the day (light coming in) and night (light radiating out).

Urban Fabric <<

Carpet flows across <<

N/S Cross Section <<

>> 2 <<

>> 1 <<

Poché Spaces <<

>> 3 <<

>> Left: Visualisation of the interior pocket spaces, showing possible use for shopping. Right: Visualisation showing how the pocket spaces can revitalise abandoned facades <<

The Metro >> 01.01.2010 - Copenhagen, Denmark - Metro Station combined with a Cultural/Arts Centre as part of my seventh semester at Aarhus School of Architecture << Our seventh semester project centred around the proposed metro station located at RĂĽdhuspladsen in Copenhagen. With the new city ring line, a series of new stations would be built across the city, and we were asked produce a project based on creating a proposal for the square itself, the metro station, or a combination of the two. The town square in Copenhagen is a large open expanse, often quite wind swept and barren, kept predominantly empty for gatherings, festivals and other temporary functions. It has been the subject of much debate about itâ&#x20AC;&#x2122;s future, and with the removal of the old bus terminal building, how a new addition such as the new metro would come to define this landscape. What struck me about the square in its current form is how the tightly packed old city spills out onto this wide expanse of nothingness, how the urban fabric is disassimilated in a chaotic and confusing conclusion. I felt that the security and sanctity of the city had evaporated, those thousands of small, quiet, protected niches found in every city across the world were gone, and left the users of the square feeling exposed. I chose to recreate the niches within the square, but without disturbing the open essence of the space, these niches were to become vertical in nature, ripped out of the square itself. The square is the historic, cultural and political centre of the city, and I saw the depth and breadth of history and use on the site as a series of layers crisscrossing the square. With the introduction of a new metro, a great change, a modernisation, a palatable force would push itself under the square. The crisscrossing lines would act as fracture points, allowing this force, the metro, to burst out at defined points, creating a fractured, recessed and stripped back addition (or removal) to the square, in which a new metro, various facilities, gatherings and protected niches could be found and enjoyed, protected from the otherwise noisy and windy surroundings.

>> Initial sketches illustrating concept of the layered city square being sub-divided and shattered by the introduction of the metro, and the resulting collapsed cavern spaces <<

>> Left: Diagramatic analysis of Rådhuspladsen’s ‘fracture lines’ and resulting layering. Right: Model analysis of a fractured and opened square <<

This ‘destructive’ process I employed allowed the square to peel back the many layers that had suffocated its otherwise stunted evolution, and created a new and usable space. The same force that stripped the surface layers, creating the niched square, also creates a subterranean cavern where the metro resides, and into which the remain surface layers collapse. This collapse creates a fragmented and tiered interior space, that generates a natural vertical and spiral flow down to lower platforms. The vertical flow allows the commuters direct access to the platform spaces, whilst the spiral flow allows for larger, calm and open spaces to be used exhibition and theatre spaces, whilst still granting eventual access to the platforms.

N/S Theatre Cross Section <<

N/S Concourse Cross Section <<

Visualisation of R책dhuspladsen from the clock tower <<

>> Visualisation of the platform area inside the station

The fractured wedge spaces are structured in such a way that they support each other, creating a seemingly ‘floating’ roof for the metro platforms below. Their staggered arrangement also allows light to permeate down through the central spaces into the station, and creates a visual contact between the three states of the building, the square, the central space, and the platforms. This contact between the platform and the surface is also reflected in the structure of the central fragmented structure, which mirrors the niches across the square directly above the metro. The central ‘keystone’ wedge provides the primary access route, with a series of escalators and elevators to provide transportation to and from the surface, as well as being the entrance for the exhibition and theatre spaces that support and flank it. It is comparable to the ‘keystone’ in a traditional stone arch bridge, providing the backbone for the entire structure. In response to the city’s desire to keep an open and usable space, the stripped square still lends itself to being an accessible and usable space. The recessed ‘vertical’ niches lower the square below the reach of the traffic, wind and other disturbing factors that once deterred people from spending time in the square, and creates a more intimate sanctuary for pedestrians. The slowly stepping geometry allows wheelchair access across the entire square, flowing towards the metro’s main entrance, and this same stepped structure creates a natural amphitheatre, where concerts and larger social gatherings can take place, and with far less hindered views and therefore a far better experience for everyone,

Protected <<

Access <<

Public Events <<

E/W Cross Section <<

Competitions >> 01.03.2009 to Present - Copenhagen, Denmark. A summary of open/public competitions I have taken part in during my free time <<

Professional Works >> 01.09.2007 to Present - Henning Larsen Architects, Denmark. A selection and summary of various professional projects I have been involved with <<

De Gamles By day centre, second place in an invited competition During my post graduate internship with Leth & Gori (May-June, 2012), I was involved in an invited competition, in partnership with Erik Møller Architects, to design and produce a bid for a new children’s day centre and kindergarten in the ‘De Gamles By’ complex, in the Nørrebro area of Copenhagen. The competition brief stipulated that the centre should

be able to cater for upwards of 150 children and staff, have a logical and intuitive layout that promoted the inquisitive and active nature of its user, providing a comfortable, secure and exciting/explorative environment for the children. The architectural characteristics were also to be innovative and at the same time respectful of the site and the surrounding buildings, noting that the preferred building material would be masonry with a living, green roof.

Our bid took precedence in creating a recognisable addition to the existing city structure, as well as drawing inspiration from the adjacent materials and architectural styles. Throughout the design process we wished to preserve two existing mature trees on the site, and opted to construct the layout around these trees, allowing them to become a gathering and focal point for the centre. The layout was also constructed around the pairing of classrooms and related services

in a type of ‘village’ concept, where each classroom pair acts as a self sustaining module within the building itself. These modules were grouped around the preserved trees in this village arrangement, so that these conceptually individual elements became part of a single community under one roof. This communal concept led the project throughout the following phases, and allowed us to construct an intuitive flow and relationship between the classrooms and facilities.

The design for the consolidation of the individual classroom pairs in a ‘village’ structure, and around the in-situ trees, took inspiration from the various gable roofs found adjacent to the site. The deformed gable roof was chosen so to allow the building to better blend in within the historic quarter, yet by introducing breaks and angles into the exterior structure, and carving away the interior to make room for the trees, we were able to produce a charachterful and dynamic architectural statement, that was still considerate to the overall character of the area. The final design is a carefully balanced structure, that offers a strong and encompassing, perforated masonry facade, that in turn opens up and invites the user into its lighter and open interior courtyard. Internally, the modular layout and open plan corridors and communal spaces create inquisitive and varying spaces for the children to explore. The play areas are connected via the first floor balcony.

Throughout the project, I was involved with all aspects of the sketching, design and completion phases, working closely alongside the partners at Leth & Gori and Erik Møller. The project came a close second in the jury’s final verdict, who commented that the project showed ‘a well integrated solution to the local area, with its particular character and tactility. The facades are well considered and proportioned, and the use of recycled masonry is a falls beautifully in sync with the adjacent

buildings. Despite the buildings many unconventional styles and qualities, the choice of materials and green roof help it blend in with its surroundings and feel at home in ‘de gamles by’. Overall the project delivers a complete, well formulated and proportioned project, that is as functional as it is educational. The organic and comprehensible layout leaves room for many living niches and spaces, and the interior courtyard space is a great quality of the project.’

Nairobi Masterplan, Third place in an International Competition The Nairobi project consisted of a regional masterplan to secure the future predicted population expansion of Nairobi and provide a series of self contained suburbs that were entirely self sufficient in terms of residential, commercial and industrial services, yet were all interconnected with the greater Nairobi area.

Västra Docken Complex, Malmø, Sweden. Commission Proposal In 2007 the office was invited to offer a proposal on a development of the Västra Docken complex in Malmø, Sweden. The proposal centred on a mix of commercial, residential and cultural, as well as a mix of new developments along with re-use of the original dockside warehouses and boardwalks. A series of open plan spaces for use by

I was involved throughout the competition process, working alongside the rest of the team in creating a series of grasshopper algorithms that were used to be able to dynamically adjust and adapt the city density, height and boundaries according to the predicted population, and allowing us to produce several variations of our proposal with very little effort. I was also highly involved in producing the final graphics, diagrams and 3D visualisations.

the residents and the various schools and cultural facilities also had to be worked into the final design, and we worked closely with a third party landscape architecture through the duration of the project. My involvement with the project consisted mostly of working alongside the lead architect in producing a series of 3D visualisations, CAD plans and sections and various graphical additions to the final presentation proposal and booklets.

The Massar Children’s Discovery Centre, Damascus, Syria In 2005, Henning Larsen Architects won an international competition for a cultural and learning centre in the heart of Damascus. Based off the Damascus Rose, the Children’s Discovery Centre is a series of layered ‘petals’, housing a series of free flowing, inter-connected exhibition spaces and administrative functions. When I joined the office in 2007, I joined the Massar team and was quickly put to work alongside another architect working on the outer shells of the building, working with Microstation 3D to create a ‘real time’ model of the shell structure in correlation to the rest of the building, and designing a window and facade layout in response to sunlight and interior spaces as well as an aesthetic and appealing facade that would use a fluctuating surface of different tile sizes, lengths and surface treatments to create a gleaming surface.

In approaching the facade detailing, I set about creating a dynamic and flowing representation of the interior spaces across the shell itself, allowing those viewing the building from outside to appreciate the expression of flow and movement throughout the building, and to accentuate its final form. I created a set of templates, with which I began to map out and place the windows, the various tile lengths and depths and finally the different surface treatments applied to them.

Liaising back and forth with out lighting engineers and our workshop, I had a series of mock-ups created, as well as producing a few of my own, so we could better get and appreciation of how the flow across the shell translated into a physical manifestation. Once we settled on a tile system we were certain fulfilled the criteria we had laid down, the final models and diagrams were presented to the client, and a series of full scale mock-ups were commissioned on site.

Nairobi Masterplan Visualisation <<

Zuidas Development, Amsterdam, Netherlands. Commission From 2007 to 2010, I was involved with a large materplan project located on the outskirts of Amsterdam. The project consisted of a series of self contained areas, each with their own functions, from the purely residential to a university campus. The project was undertaken in a series of phases, back and forth between the office and the

client, and I was involved throughout the various design iterations involved. This involvement included the layout and flow of residential blocks, park spaces and football fields, liaising with sunlight and wind engineers to ensure that the building heights were adapted to allow for the best possible climate within the sites, design proposal for key buildings within the masterplans and a variety of CAD drawings, diagrams and 3D visualisations.

4. niveau

tumlesal vĂŚksthus natur / teknik

Ă&#x2DC;restedsskolen, Copenhagen, Denmark. Invited Competition In 2009 the office was invited to submit a four stage proposal for a new secondary school in the Ă&#x2DC;rested area of Copenhagen. The school was unique in being sited on a narrow strip of land, and therefore would have to span seven floors, and locate any outdoor play areas on the roof of the structure.

I joined the competition team on the fourth stage of the proposal, where we would begin to collate and condense our previous design ideas and layouts and create a final proposal. I was mostly involved with the internal layouts, flow and structures, as well as being tasked with creating and enhancing the majority of our graphics and CAD drawings. As well as these, I was also asked to create the 3D visualisations used for the final proposal.

Sun Louvre Proposal, Teglholmen, Copenhagen Denmark. The practice was requested to come up a series of proposals for a replacement sun louvre system for an office building in the Teglholm area of Copenhagen. The original building had a unique glass panel system in place, which was damaged and eventually destroyed by high winds, falling to the street below and the client was understandably reluctant to use a glass system again. Myself and one of the senior partners were given the project to work on, and after a series of site visits and client meetings, we begun to design a system that would produce a tactile and considered addition/ replacement for the existing building. Whilst the senior partner had many projects to contend with during the course of this proposal, I was mostly given free reign to propose a variety of different systems whilst working alongside our inhouse lighting engineers.

The design proposals revolved around reusing the existing shutter framework that the glass panels used to be housed in, so to reduce time and cost, as well as ensuring that the design was complimentary to the host building, rather than drawing attention away from what was built as a â&#x20AC;&#x2DC;prestigeâ&#x20AC;&#x2122; structure in this newly developed part of Copenhagen. Shown above are a selection of the various design iterations I worked with, each closely detailed and researched with

the lighting engineers to ensure they met the standards set down by the client and the buildingâ&#x20AC;&#x2122;s interior climate, as well as introducing a variety of stiles and material/textural choices so that every possibility could be approached. After several consultations and client meetings, we opted for my twisted helix design both in a uniform and staggered arrangement and had a series of test panels produced and installed onto the building which is shown in the photo above.

4 niveau

tumlesal vĂŚksthus natur / teknik

4. Ă&#x2DC;restedsskolen Visualisation <<