George Stewart Architecture Portfolio - University of Greenwich - MArch Application

G E O RG E S T E WA RT M A rc h A rc h i te c t u re A p p l i c a t i o n Po r tf o l i o

University of Greenwich

+ T H E S C H O O L O F LO O K I N G T h i rd Ye a r , 2 0 1 9

1.

T h e S c h o o l o f L o o k i n g i s t h e d e s i g n o f a p ro g re s s i ve p r i m a r y s c h o o l t h a t e d u c a te s t h ro ug h e m p h a s i s i n g t h e a c t o f lo o k i n g a s a c u l t u ra l a n d a te m p o ra l c o n s t r u c t . T h i s i s a n e x te n d e d a rc h i te c t u ra l m e t a p h o r o f h o w t h e c h i ld re n a re e n c o u ra ge d to lo o k a t t h e w o r ld w i t h o p e n eye s a n d a n o p e n m i n d . T h e p ro j e c t i s o rga n i s e d i n to t h re e c h a p te r s , s p a c e s ove r l a p p i n g to b e c o m e o n e b u i ld i n g . T h e s c h o o l s h i f t s t h ro ug h d i f f e re n t v i s u a l a n d s e n s o r i a l s t a te s b y m a n i p u l a t i n g t h e n a t u ra l l i g h t c o n d i t i o n s o f t h e s i te .

Fro m s t u d y i n g d i o ra m a s i n t h e f i r s t p ro j e c t a n d c h u rc h c e i l i n g f re s c o e s i n Ro m e t h a t c re a te s p a t i a l i l lu s i o n s d e p i c t i n g l i g h t , t h e s e c o n s t r u c t i o n s b e c o m e a b a s i s to p ro p o s e a n a rc h i te c t u re t h a t go e s b eyo n d t h e v i s u a l a n d b e c o m e s s e n s o r i a l . T h e p ro j e c t ’ s F i r s t C h a p te r i s a s e r i e s o f te c h n i c a l i nve s t i ga t i o n s a n a lys i n g t h i s f a l s e a rc h i te c t u re , le a d i n g to t h e d e s i g n o f t h e A s s e m b ly H a l l t h a t c a p t u re s l i g h t i n u n ex p e c te d w ays t h ro ug h o u t t h e d ay . T h e S e c o n d C h a p te r i s a c o n t i n u a t i o n o f t h e a n a lys i s o f d e p i c te d s p a c e b u t w h i c h i s n o w i nve s t i ga t i n g a n a l te r n a t i ve to c o nve rg i n g p e r s p e c t i ve re p re s e n t a t i o n - p a ra l le l o b l i q u e re p re s e n t a t i o n - b e c o m i n g a p l ayg ro u n d i n s p i re d b y t h e O b l i q u e Fu n c t i o n . T h e c h i ld re n c a n c l i m b a ro u n d t h e s p a c e a n d b e t aug h t a b o u t o f i t s c o n s t r u c t i o n ex p e r i e n t i a l ly .

Re t u r n i n g to c h u rc h f re s c o e s , t h e M o t h e r b e c o m e s t h e G o d o f t h e b u i ld i n g , ove r lo o k i n g t h e c h i ld re n .

O ve ra l l , t h e b u i ld i n g b e c o m e s a d i o ra m a , a n a b s t ra c t t h re e - d i m e n s i o n a l d e p i c t i o n o f t h e f re s c o e s i nve s t i ga te d i n i t i a l ly . T h e c h i ld re n a re gu i d e d u p t h ro ug h t h e b u i ld i n g ’ s c i rc u l a t i o n , a t t ra c te d b y t h e s h i f t i n g l i g h t , s w i r l i n g u p to t h e M o t h e r a s t h e a n ge l d i s c i p le s s w i r l i n c lo u d s a ro u n d t h e b r i g h t l i g h t s o u rc e .

2.

3

3.

4.

5.

5

6.

1. Mother Support (digital painting) 2 . Fro n t e lev a t i o n ( re n d e r )

3 . T h e P l ay - f a c a d e ( re n d e r ) 4 . E x te r i o r V i e w o f t h e M o t h e r O ve r lo o k i n g t h e C h i ld re n ( re n d e r ) 5 . I n te r i o r o f A s s e m b ly H a l l ( re n d e r ) 6 . G ro u n d f lo o r p l a n ( d i g i t a l ) 7. Short section (digital) 8 . P l a n a n d s e c t i o n o f a s m a l l c l a s s ro o m , c i rc u l a t i o n f o r l i g h t ( d i g i t a l ) 9 . Fa c a d e d eve lo p m e n t m o d e l - Pe r s i a n m i n i a t u re s p a t i a l a n a lys i s 1 0 . S ke tc h i te ra t i o n ( p e n c i l ) 1 1 . I m a g i n i n g t h e P i c to r i a l A rc h i te c t u re o f t h e Sant’Ignazio (digital) 12. Light Car ving Space, an isometric re p re s e n t a t i o n o f Ro b e r t I r w i n ’ s Untitled ( d i g i t a l and pencil)

7.

6

1 3 . E lev a t i o n o f t h e C h u rc h o f t h e G e s u , I m a g i n i n g t h e P i c to r i a l A rc h i te c t u re ( d i g i t a l )

8.

9.

10.

7

11.

Section, option 1

Section, opt. 2

Front elevation, option 2

1m

12.

13.

9

+ W H Y LO O K T H RO U G H A N I M A L S ? T h i rd Ye a r , 2 0 1 8

1.

2.

10

3.

4.

T h e b r i e f w a s to e x p lo re t h e a n i m a l i s t i c a n d t h e a n i m a le s q u e in

re l a t i o n

to

a rc h i te c t u re .

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i nve s t i ga t i ve

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w a s a s i te / s i g h t m o d e l re s p o n d i n g to t h e n a t u ra l h i s to r y d i o ra m a ’ s t ra d i t i o n a l d e p i c t i o n o f a n i m a l s a n d a s ke d h o w t h e m o d e r n d i o ra m a c o u ld b e c o m e a to o l f o r c r i t i c i s m .

T h e p ro j e c t ' s t i t le a s ks , ‘ w hy lo o k t h ro ug h a n i m a l s ? ’ ( T h i s i s i n s p i re d b y B e rge r ’ s Why Look At Animals?) T h i s c a n b e i n te r p re te d p hys i c a l ly , ga z i n g t h ro ug h t h e d i o ra m a i t s e l f , o r m e t a p h o r i c a l ly a s a re - ex a m i n a t i o n o f m o d e r n c o n s u m e r c a p i t a l i s t s o c i e t y t h ro ug h a n i m a l s a n d t h e i r m a rg i n a l i s a t i o n .

1 . , 2 . a n d 5 . F i n a l m o d e l ( m i xe d ) 3. Dripping Glamour (glass wax and paint) 4 . B le e d i n g D i m e n s i o n s ( p e n a n d w a te rc o lo u r , c l ay a n d enamel)

5.

6 . L o n g a n d s h o r t e lev a t i o n s o f f i n a l d e s i g n o n s i te ( p e n c i l )

Long Elevation

Short Elevation

1m

6.

+ T H E A L I B A B A I N N S e c o n d Ye a r , 2 0 1 8

2.

A t h e m e d h o te l o n A l i B a b a Ave n u e , O p a - L o c k a , F lo r i d a . I t e x p lo re s t h e te n s i o n b e t w e e n t h e r i g i d A m e r i c a n h o m e s te a d a n d t h e c o l l a p s i b le B e d o u i n te n t

by

combining

a rc h i te c t u ra l

p re c e d e n t s ,

c re a t i n g a t h e m e d i n n . I t c o n s i d e r s h o w to d ay , i n t h e c u r re n t p o l i t i c a l c l i m a te , t h i s t h e m i n g m ay b e m o re s u b t le a n d s u bve r s i ve .

W h e re a s

Opa-Locka‘s

a rc h i te c t u re

as

c re a to r s

d i s s e m i n a te d

in

used popular

Islamic 1920s

O r i e n t a l i s m , t h e A l i B a b a I n n p ro p o s e s to re t u r n to t h e a n c i e n t I s l a m i c p re c e d e n t s - c a rav a n s e ra i s , B e d o u i n te n t s a n d p a ra d i s e ga rd e n s . T h e p ro j e c t t h e n re - c o n tex t u a l i s e s t h e m w i t h t h e f u n d a m e n t a l p r i n c i p le s o f t h e a rc h i te c t u re , p a r t i c u l a r ly c o m m u n i t y c o n g rega t i o n , i n a c i t y w h i c h h a s o n e t h e h i g h e s t ra te s o f c r i m e i n A m e r i c a .

1 . F i n a l d e s i g n , r ug c o m p o s i t i o n - p l a n a n d s e c t i o n s (digital) 2 . H y b r i d i s i n g B e d o u i n k n i t t i n g p a t te r n s a n d G e o n ’ s o f t h e A m e r i c a n f l a g , p r i n te d o n a s u b u r b a n ove n g love ( f a b r i c )

13 1.

E a r ly s ke tc h e s o f t h e h o te l s u i te s to ex p lo re t h e c o m b i n a t

a n d I s l a m i c a rc h i te c t u ra l p re c e d e n t s , t h e B e d o u i n te n t a n h o m e s te a d .

6.

3.

4.

7.

tion of American

nd the American

5.

8.

16

A s p e c i f i c g r i d w a s u s e d t h a t te m p l a te s t h e s t i tc h o f t h e B e d o u i n ’ s t ra d i t i o n a l ‘ d o u b le - w e av i n g ’ te c h n i q u e . T h i s l i m i t s t h e v a r i e t y o f a n g le s w i t h i n t h e s t i tc h , w a r p i n g t h e s p e c i f i c f o r m s o f t h e A m e r i c a n f l a g w i t h i n w h a t i s p o s s i b le i n t h e s t i tc h , c re a t i n g a d i s to r te d B e d o u i n ve r s i o n . B y hy b r i d i s i n g B e d o u i n p a t te r n a n d t h e A m e r i c a n flag, this symbolises the condition of Opa-Locka a n d i t s a rc h i te c t u re - t h e te n s i o n b e t w e e n t h e use

of

v i s u a l ly

i c o n o g ra p h i c a ga i n s t

an

ancient American

Islamic

t ro p e s

c o n te x t .

This

re l a t i o n s h i p c o u ld b e s e e n a s c o n t rove r s i a l i n t h e c u r re n t 2 0 1 8 p o l i t i c a l c l i m a te o f A m e r i c a ’ s re l a t i o n s h i p to t h e M i d d le E a s t , c o m p a re d to i n t h e 1 9 2 0 s w h e n O p a - L o c k a w a s c o n c e i ve d .

T h e e n c lo s u re o f t h e ro o m i s c o m p le te d b y t h e w ove n go a t s h a i r f a b r i c o f B e d o u i n te n t s a d o r n e d w i t h t h e B e d o u i n / A m e r i c a n f l a g p a t te r n . O n c e t h e v i s i to r e n te r s t h ro ug h t h e p o rc h / n i c h e , u n d e r t h e a rc h / r ug , t h e re i s a b e d e n c lo s e d i n c o lu m n s , re f e re n c i n g t h e a rc a d e o f c o lu m n s f o u n d i n m a ny Islamic

b u i ld i n g

types,

e n c lo s i n g

an

a re a

of

c o n g rega t i o n - t h e A m e r i c a n b e d c o u ld b e s e e n a s o n e . T h i s a re a i s c o n s e q u e n t ly ex p re s s e d o n t h e f a b r i c ro o f a s te n s i o n l i n e s t h a t re f le c t t h e ro o f p l a n o f a t ra d i t i o n a l A m e r i c a n h o m e s te a d .

3 . - 5 . O r t h o g ra p h i c v i e ws o f t h e A l i B a b a I n n - eve n i n g , m o r n i n g a n d s u n s e t re s p e c t i ve ly (pencil) 6 . S u i te i te ra t i o n - ro o f p l a n a n d e lev a t i o n s ( p e n ) 7 . S ke tc h i te ra t i o n s o f s u i te s ( p e n c i l a n d p e n )

1m

9.

17

10.

The to

s u i te s maximise

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s i ze d

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placed c o u r t y a rd

c a re f u l ly spaces,

i n s p i re d b y t h e t y p o lo g y o f t h e t ra d i t i o n a l I s l a m i c c a rav a n s e ra i a n d t h e w a l le d ga rd e n to a l lo w f o r c o m m u n i t y c o n g rega t i o n .

11.

12.

13.

14.

8 . H y b r i d i s i n g B e d o u i n w e av i n g p a t te r n s a n d G e o n ’ s o f t h e American flag (digital) 9 . S i n g le , d o u b le a n d f a m i ly s u i te s ro o f p l a n s ( p e n c i l ) 1 0 . C lo s e - u p o f s h o r t s e c t i o n (digital) 1 1 . C lo s e - u p o f ro o f p l a n ( d i g i t a l ) 1 2 . C lo s e - u p o f lo n g s e c t i o n ( d i g i t a l ) 1 3 . C l ay m o d e l s te s t i n g t h e p o rc h / n i c h e to t h e s u i te s 1 4 . D i a g ra m o f c o n s t r u c t i n g t h e niche (digital) 1 5 . Pa p e r m o d e l i te ra t i o n s o f n i c h e to t h e s u i te s 1 6 . S ke tc h o f i n te r i o r d e c o ra t i o n (pen)

15.

16.

19

+ T H E O PA - LO C K A G A R D E N - R E V I VA L S e c o n d Ye a r , 2 0 1 7

1.

Opa-Locka,

F lo r i d a ,

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design

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by

the

n a r ra t i ve o f 1 0 0 1 A ra b i a n N i g h t s . T h e p ro j e c t i s a s e r i e s o f m a r ke t s t a l l s a n d k i o s ks t h a t , w h e n w e ave d to ge t h e r , f o r m a t h e m e d to u r o f t h e c i t y a n d b e c o m e a j o u r n ey t h ro ug h i t s n a r ra t i ve . T h e s e s p a c e s a re f o c u s s e d a ro u n d t h e o r i g i n a l I s l a m i c - i n s p i re d a rc h i te c t u re , p ro m o t i n g i t f o r to u r i s m a n d b e n e f i t i n g t h e n o w - s t r ug g l i n g c i t y e c o n o m i c a l ly . T h e v i s u a l s a re i n s p i re d b y t h e s a t u ra te d p o s te r s t h a t o n c e a d ve r t i s e d suburbia.

T h e k i o s k o r i g i n a te s f ro m t h e E a s t a s a p l a c e o f re s t b u t h a s re - e m e rge d i n t h e We s t a s a p l a c e o f c o m m e rc e . T h e s e k i o s ks w e re o f te n o c t a go n a l w h i c h i s re l i g i o u s ly s y m b o l i c : e a c h k i o s k i s f o r m e d o f e i g h t s p a c e s - f o u r f o r re s t a n d f o u r f o r c o m m e rc e - f u s i n g t h e We s te r n a n d E a s te r n a s O p a - L o c k a d o e s . V i s i to r s c a n re l a x , b u y t h e i r c o m m o d i t i e s a n d b e n e f i t t h e c i t y ’ s e c o n o my b e f o re m ov i n g to t h e n ex t c o n g rega t i o n a l s p a c e o n t h e i r to u r. C u t t i n g t h ro ug h f ro n t ga rd e n s , t h e m a r ke t b lu r s t h e b o u n d a r y b e t w e e n p u b l i c a n d p r i v a te s p a c e . T h e p ave m e n t i s p u l le d aw ay f ro m t h e ro a d s i d e i n to t h e m a r ke t a s a t w i s t i n g j o u r n ey t h ro ug h a t h e m e p a r k . T h e m a r ke t u n i f i e s t h e d i f f e re n t p a r t s o f t h e I s l a m i f i e d c i t y w i t h t h e a i m o f t ra n s f o r m i n g t h e c i t y ’ s e c o n o m i c h e a l t h a n d s o c i a l l i f e .

1 . O p a - L o c k a G a rd e n - Rev i v a l lo go d e s i g n ( p e n ) 2 . A xo n o m e t r i c v i e w o f t h e S u b u r b a n S t re e t B a z a a r ( p e n c i l a n d w a te rc o lo u r ) 3 . P l a n o f t h e t h re e p a r k k i o s ks ( p e n c i l a n d d i g i t a l c o l l a ge ) 4 . A xo n o m e t r i c v i e w o f t h e K i o s ks o f Re s t a n d C o m m e rc e : c o l l a g i n g t h e ge o n s o f O p a - L o c k a ’ s t h e m e d a rc h i te c t u re i n to t h re e p a r k k i o s ks ( p e n c i l a n d w a te rc o lo u r )

20 2.

5m

3.

4.

21

+ T H E A R K R E - I M AG I N E D 2 0 1 9 - o n go i n g

A lo n gs i d e a r t i s t R a s h a d S a l i m , t h e A r k Re - i m a g i n e d i s a p ro j e c t b e i n g d eve lo p e d f o r t h e f i r s t I ra q i p av i l i o n a t t h e Ve n i c e B i e n n a le o f A rc h i te c t u re , n o w 2 0 2 1 . G u i d e d b y t h e A r k o f t h e F lo o d my t h o lo g y t h ro ug h i t s e x p lo ra t i o n o f t ra d i t i o n a l M e s o p o t a m i a n c o n s t r u c t i o n te c h n i q u e s , i t re p l a c e s t h e i m a ge o f t h e A r k a s a h uge s h i p w i t h a ga t h e r i n g o f m a ny b o a t s i n to a p a t te r n o f u n i t y a n d s t re n g t h . C l i m a te c h a n ge , e nv i ro n m e n t a l d eg ra d a t i o n a n d t h e lo s s o f c u l t u ra l h e r i t a ge m a ke t h e s to r y o f t h e G re a t F lo o d a n d N o a h ’ s A r k o f v i t a l re lev a n c e to d ay .

1 . S c h e m a t i c p l a n i te ra t i o n ( d i g i t a l ) 2 . C u t aw ay d raw i n g ( p e n a n d d i g i t a l ) 3 . P ro j e c te d s e c t i o n d raw i n g i te ra t i o n ( p e n a n d d i g i t a l ) 4 . ‘ At l a s ’ i n s t a l l a t i o n c o n c e p t f o r Ve n i c e ( d i g i t a l ) 5 . M o d e l o f ‘ At l a s ’ c o n c e p t

5 . P h o to g ra p h s o f o u r te a m i n R a s h a d ’ s s t u d i o 6 . M o d e l o f t h e A r k ’ s s u p e r s t r u c t u re a n d e nve lo p e ( m o d e l ) 7 . S c h e m a t i c s e c t i o n i te ra t i o n ( d i g i t a l )

2.

23 1.

“ A s t h e f i r s t eve r I ra q i a rc h i te c t u ra l p av i l i o n ,

the Ark Re-Imagined lo o ks to t h e b eg i n n i n gs of

our

civilisation.

Built

with

the

ancient

te c h n o lo g y o f re e d c o n s t r u c t i o n , o u r A r k i s a m o n u m e n t to t h e o rga n i c a ge t h a t p re c e d e d o u r o w n . I t re p l a c e s t h e i m a ge o f t h e A r k a s a h uge s h i p w i t h a ga t h e r i n g o f m a ny b o a t s t h a t f o r m s a p a t te r n o f u n i t y a n d s t re n g t h .

I t b r i n gs a n c i e n t M e s o p o t a m i a n w a te rc ra f t , m a te r i a l c u l t u re , a n d ve r n a c u l a r te c h n i q u e s b a c k to t h e p re s e n t d ay T i g r i s a n d Eu p h ra te s r i ve r s . ” ( Pa ra p h ra s e d f ro m t h e p ro j e c t b r i e f . )

3.

4.

5.

6.

7.

8.

+ P ROJ E C T S WO R K E D O N I N P RO F E S S I O N A L P R AC T I C E 2 0 1 9 - 2 0 2 0 + Kilmuir House

1.

10m

Wo r ke d o n a t P i l b ro w & Pa r t n e r s , K i l m u i r H o u s e i s a p r i m a r i ly re s i d e n t i a l p ro j e c t , w i t h re t a i l u n i t s , t h a t re p l a c e s a n d i l a p i d a te d 1 9 6 0 s e s t a te to w e r.

I t i s a h i s to r i c a l ly s e n s i t i ve s i te , n e x t to t h e B e lg rav i a c o n s e r v a t i o n a re a . G e o rg i a n a n d V i c to r i a n a rc h i te c t u re w e re re s e a rc h e d i n o rd e r to d eve lo p a c o m p le x , a r t i c u l a te d f e n e s t ra t i o n i n a c o n te m p o ra r y m a n i f e s t a t i o n . P ro j e c t S w a n i s a m i xe d - u s e p ro j e c t n e x t to S e l f r i d ge s o n Ox f o rd S t re e t , c o m p r i s i n g o f n e w re t a i l s p a c e f o r M a r ks a n d S p e n c e r ’ s , o f f i c e s p a c e , re s i d e n t i a l u n i t s w i t h ga rd e n te r ra c e s , a g y m a n d o t h e r le i s u re f a c i l i t i e s .

2.

20m

10m

26

10m

3.

4.

5.

6.

7.

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27

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10m

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8 . S ke tc h b y p r i n c i p le a rc h i te c t , u s e d to a m e n d a g ro u n d f lo o r p l a n o p t i o n 9 . S ke tc h e s to t h re e - d i m e n s i o n a l ly v i s u a l i s e t h e p r i n c i p le a rc h i te c t ’ s s ke tc h p l a n 1 0 . P re s e n t a t i o n lo n g s e c t i o n 1 1 . Tra n s lu c e n t m o d e l s h o w i n g p o r t i o n s o f ex i s t i n g b u i ld i n g t h a t re q u i re d e m o l i t i o n 1 2 . Fro n t e lev a t i o n 1 3 . D i a g ra m s h o w i n g p o r t i o n s o f ex i s t i n g b u i ld i n g t h a t re q u i re d e m o l i t i o n 1 4 . F i re s t ra teg y p l a n 1 5 . P re s e n t a t i o n p l a n s 1 6 . A s s e m b le d i n te r i o r s c a n s 1 7 . S t a c ke d i s o m e t r i c p l a n s o f d e s i g n p ro p o s a l 1 8 . M o d e l p h o to g ra p h s i l lu s t ra t i n g d e s i g n d eve lo p m e n t

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d e s i g n o f a s e r i e s o f p r i n t s . T h ey a re i n s p i re d b y t h e f l a m b o y a n c e o f S a i n t B a s i l ’ s C a t h e d ra l i n Ru s s i a , o n e o f m a ny c o u n t r i e s t h a t d e a l w i t h s t a te - leve l h o m o p h o b i a , t h e h e ave n ly c i t y , c o n s t r u c t i v i s t p ro p a ga n d a p o s te r s , A n d y Wa r h o l a n d t h e m u s i c v i d e o f o r Go West ( 1 9 9 3 ) b y Pe t S h o p B o ys . I h o p e t h a t t h e c o m p le te d p r i n t s w i l l b e c o m e a s m a l l f o r m o f a c t i v i s m ; I i n te n d to d o n a te a ny p ro c e e d s to a n LG BTQ + c h a r i t y .

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1 . - 4 . T h e H e ave n ly C i t y p o s te r - R a i n b o w P r i d e , Tra n s ge n d e r , Pa n s exu a l a n d B i s exu a l f l a g c o lo u r s re s p e c t i ve ly ( p e n )