Design Studio 2.1

2.1 BICYCLE MUSEUM FA I T H M U I R | G R O U P 9

CONTENTS S I T E A N A LY S I S | 4 Site Access and Surroundings Sunpath Simulation

DESIGN DEVELOPMENT | 6 Site analysis informing the design

PRECEDENTS | 8 ARCHITECTURAL PROGRAM | 9 M AT E R I A L S A N D S T R U C T U R E | 1 0 DRAWINGS | 11 Site Plan Ground Floor Upper Floor Elevations Sections

PERSPECTIVES | 18

2

D E S I G N S TAT E M E N T In 2015, Bristol was awarded European Green Capital for its strong integration of cycling routes within its urban environment. Thus, I wanted to commemorate this by designing a museum that teaches the public about the history of bicycles and its impact on Bristol.

I chose the second site situated across the Mud Dock bicycle shop and cafe due to the fact that it has the potential to become a key social hub as it directly links to Queen Square and the Arnolfini art center. Despite being in proximity to these key locations, the dock area around the site is quite neglected, so my design aims to manipulate both internal and external spaces to regenerate the urban realm.

By allowing the restrictions of the site to inform my design, I was able to create a building that effectively engaged with existing pedestrian and cyclist routes, as well as activating paths that might have been neglected such as the route connecting the site to Queen Square. Apart from the building footprint, the facade takes inspiration from the surrounding industrial atmosphere of the docks through black corrugated steel. Furthermore, louvre timber panels evoke a sense of sustainability which links to the idea of the city being a Green Capital, and it also complements the verticality created by the corrugated steel. In terms of elevations, each mass has a corresponding ceiling height which suggests a hierarchy of internal spaces, and angled roofs transform certain elements of the building into landmarks that can redefine the area.

FA C A D E + V E R T I C A L B I K E R A C K

Overall, the museum is formed by three main components: entrance hall, central core, and main gallery. Circulation connects and flows between these spaces so that visitors are guided from the entrance hall upstairs to the central core where there are auxiliary galleries and a link to the mezzanine which looks over the double height main gallery. To integrate the physical and conceptual aspects of the building, I used the internally expressed structure as a means to exhibit the bicycles via beams elevated from the ground. Similarly, on the north facade of the gallery the vertical louvre facade transforms to vertical bike racks at ground level, so that the public can store their bikes and become part of the exhibition.

3

S I T E A N A LY S I S

SITE ACCESS AND SURROUNDINGS The general site boundary and potential entrances can be guided by identifying the building types in the area and the pedestrian zones that link them.

Key cultural spaces in the area are Queen Square and the Arnolfini art centre, and there are multiple shops and restaurants that further attract people in adjacent residences and offices. The addition of the museum in the area strengthens the sense of a social hub.

Land Use and Pedestrain Routes | Red signifies primary routes and yellow is secondary

4

Restricted zones | Suggesting a site boundary

S U N PAT H S I M U L AT I O N These diagrams reveal that the south facing facade has the most exposure to sunlight throughout the day, so the main gallery space would benefit from that orientation.

On the east side there is an opportunity to place the cafe as it will be occupied mostly in the morning. When the building is placed on site it would overshadow elements facing the north, so utility rooms can be situated there.

Summer sunrise | Corner window on east would maximize light in cafe throughout the day

Summer noon | Glazed facades on the south create glare to buidlings across river

Summer sunset | Glazing to the west so sunset can animate views seen internally

5

DESIGN DEVELOPMENT

Axes | Points of view and entrance of significant surroundings

6

Regenerating urban realm | Prescence of building allows future changes to the area

Massing | Sun path dictating orientation of blocks in accordance with activity

Fenestration | Suggested placement to maximize daylight and views

7

PRECEDENTS Insect Museum | Carrières-sous-Poissy, France | AWP + HHF

Säynätsalo Town Hall | Säynätsalo, Finland | 1949 Alvar Aalto

Gwathmey Residence | New York | 1967 Charles Gwathmey

Facade divided into solid timber, polycarbonate, and transparent glass

The monolithic qualities of the volume is lightened by a combination of louvres and glazing

Large volume cut out to signify an important entrance while creating an overhang as shelter

transluscent

Penthouse in Berlin | Neukölln, Berlin | Atelier Zafari

Large, internally expressed glulam structure that defines planes and interlocking spaces Grid of polycarbonate walls brings the essence of the larch boarding facade inside

8

Monopitched roof allows the space to “open up” vertically Windows can be added to the top of the wall so that the roof appears to be detached from the wall

Black corrugated steel sheets that are lined with a strip of the same material

ARCHITECTURAL PROGRAM

General Form | Entrance, core, and gallery

Changing volumes | Creating hierarchy with form

Entrance Hall | Single entrance area extending to Queen Street and Arnolfini routes

Circulation | Pivotal role of main stairs, and meandering gallery route

9

M AT E R I A L S A N D S T R U C T U R E

Black semi-polished corrugated steel, Facade Reflects materiality of sheds in Bristol dockside

Pine, Louvre panels Sense of verticality to complement the corrugated steel

Glulam, Primary structure Exposed internally to complement the louvre panels

Concrete, Floor Acts as a thermal mass

10

Pine, Internal Walls Brings warmth to the interior

SITE PLAN SCALE 1:1000

11

GROUND FLOOR PLAN SCALE 1:200

2 1

3

2

7 3 6

12

8

8

1 Foyer 2 Staff Room and Reception 3 Lift 4 Secondary Gallery Space 5 Activity Room 6 Storage 7 Kitchen 8 Cafe

UPPER FLOOR PLAN SCALE 1:200

4 4

4

5 VOID

13

N O R T H E L E VAT I O N SCALE 1:200

14

W E S T E L E VAT I O N SCALE 1:200

15

GALLERY SECTION SCALE 1:200

16

CORE SECTION SCALE 1:200

17

PERSPECTIVES S O U T H FA C A D E

18

M A I N G A L L E R Y S PA C E

19

TREE AVENUE TO ENTRANCE 20

ARNOLFINI TO ENTRANCE

21