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DESIGN PORTFOLIO ISABEL FOX K100 Architecture Stage 2 Newcastle University 160098455 17/18


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Contents Charrette Day in the Life P.2.3.1 Study Typology P.2.3.2 Leith Symposium P.2.3.3 Dwelling Plus P.2.3.4 Inhabit

pp.4-7 pp.8-11

... p.p.12-15 p.p.16-23 p.p.24-55

...

P.2.4 Engineering Experience P.2.5 Exploring Experience P.2.6 Integrated Technology ...

Crafting Architecture

p.p.56-63

p.p.64-67 p.p.68-111 p.p.112-115

p.p.116-121 ...

ARC 2009 Coursework - Architectural Technology ARC 2009/10 Coursework - Environmental Design ARC 2024 About Architecture: Cities, Cultures & Spaces ARC 2020 Dissertation Studies and Research Methods

p.p.122-125 p.p126-129 p.p.130-137 pp.138-139

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Charrette Sept/Oct 17


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Retyne challenged us to go out in groups and explore allocated sections, shown by orange boxes on the map on the previous page, along the Tyne river seeking out clues to existing and past links with industry, suatainability, recycling and reclaimed materials, and global economics. The Tyne has seen a fair deteriation in industrial prowess over the last century however marks of it’s once thriving role remain as we documented through photographs on our walks. Here we found a rusted induction engine, the operating company of which are now asscoiated with the international mobile phone company, Erricsson. As more connections were made between local and global industries the adoptive title of Here and Elsewhere was taken on.

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We collated each groups recordings to produce miniture magazines, ‘Zines’, postcards, collages, sound recordings and videos and gathered them around a drawn scale map of the river to create a full experiential documentation of our findings for the exhibition at the end of the week.

6 Charette


-The action or process of inducting someone to a post or organization -The process or action of bringing about or giving rise to something

INDUCTION

Induction

Here

Elsewhere

-Urban Splash is a British Construction company, recently specializing in prefabricated homes, the company is developing the Smiths Dock, North Shields.

-Places for People is one of the UK’s largest property development companies, which worked with Urban Splash to develop Smith’s dock, August 2017 marked the start of a multimillion pound partnership with Swedish sustainable housebuilders Trivselhus.

-Ericsson is a multinational networking and telecommunications equipment/ services company headquartered and based in Stockholm, Sweden

process or action bringing about giving to something -An-The enclosed area of landofwhere ships are or built and rise repaired -A business that deals with building and repairing ships

Induction -The action or process of inducting someone to a post or organization Shipyard

-The English Electric Company was a principle electric manufacturer, amalgamated by the General Electric Company in 1968, and then acquired by Ericsson in 2005

INDUCTION SHIPYARD Here -The English Electric Company was a principle electric manufacturer, amalgaHERE

Elsewhere -Ericsson is a multinational networking and telecommunications equipment/ Elsewhere

fabricated homes, the company is developing the Smiths Dock, North Shields.

the start of a multimillion pound partnership with Swedish sustainable housebuilders Trivselhus.

services company headquartered and based in Stockholm, Sweden -The Port of Southampton is a passenger and cargo port located in the central part of the south coast of England, it is the second largest container -Places for People is one of the UK’s largest property development companies, in thewith UK,Urban and ships containers globally. whichport worked Splash to develop Smith’s dock, August 2017 marked

-An enclosed area of land where ships are built and repaired -A business that deals with building and repairing ships

mated by the General Electric Company in 1968, and then acquired by Erics-R. & W. Hawthorn Leslie and Company, Limited was a shipbuilder and locoson in 2005 motive manufacturer, founded on Tyneside in 1886, it ceased building ships in 1982, mostisfamously Leslie constructed thespecializing HMS Kelly in pre-Urban Splash a British Hawthorn Construction company, recently

SHIPYARD

Shipyard

HERE

-R. & W. Hawthorn Leslie and Company, Limited was a shipbuilder and locomotive manufacturer, founded on Tyneside in 1886, it ceased building ships in 1982, most famously Hawthorn Leslie constructed the HMS Kelly

Elsewhere

-The Port of Southampton is a passenger and cargo port located in the Charette central part of the south coast of England, it is the second largest container port in the UK, and ships containers globally.

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Day in the Life Oct 17


02

120 Days: Me and my partner created an overlayed montage of photographs taken over the course of 4 months documenting the subtle changes and additions to our desk. It is a clutter of personal objects relating to ourselves from the essentials we use everyday such as keys and deodorant cans placed and replaced in positions defined by daily convenience, to the random one-off gift or used coffee cup. For full contrast of imagery there is also a set of ‘before and after’ photos, one at the very start of the year before personal use had time to leave its mark and it’s current state of disorder 120 days later.

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MORNING ... DAY ... EVENING

10 Day in the Life


Day in the Life became for me a documentation of the chaos and mess I bring to every room I am in. Morning:

Day:

Night:

When I wake up in my room I am met by my personal pit of disorder, clothes never hung carefully within the spacious wardrobe provided for me but rather strewn across the floor creating a miniature obstacle course around my feet. Through this awkward pathway I can usually stumble to find the necessities such as bag and keys in the process picking up pieces I’ll decide I won’t need and disregarding them again in a heap. To most this magnitude of disorder would seem undesirable as a habitat to live in but for me it means home and I carry this nature of mess around with me wherever I go during the day. The severity of my marks of my untidiness are reflective on where I spend most time and thus am able to make the place my own.

I bring myself and my mess over with me to another house that without my immediate presence is usually a much more organised environment. When lunch has been consumed however I have left bowls and plates piled high in this living room that is not even my own.

When the dark draws in and I have returned home for dinner my house mates and I seek refuse and comfort within our dining room. It’s fair to say there is only a minimal rise in temperature between the outside and this room but we feel sheltered from the cold winter winds of Newcastle inside our brick walls, but we warm ourselves with drinks and, yet again, I am part of the production of a particular chaos. Drinks are passed and poured creating a criss-crossing map across the table-top.

Day in the Life 11


P.2.3.1 Study Typology Oct 17

Overleaf - 1:1250 Location Map


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Locality allowed for us to experience our Study Case’s outer Carbunkle-nominated shell and for some members of the group even the student accommodation housed within. From this analysis we see an example of the attitudes of many developers in providing the bare legal minimum in a market that is so highly sought after as private living space in the City. It is common that homes, public space, and shared amenities lack the thought, skill and time required to go beyond a simple box for living, people organised into a grid of equally sized pens with little thought towards the types of activities that may go on inside. This situation creates little opportunity for the residents to enhance their surroundings in order to accommodate their own personal way of living. There is a deficit here in providing for and responding to the complex spatial needs and material qualities that are encompassed by both domestic and public life. In this example of a “no frills� package we particularly see little respect for the relationships formed by the thresholds between the public and private realm with the students simply parked on top of a Tesco resembling a labyrinth in its size. By studying a typology built by developers, I have learnt that as an architect I must provide flexibility within my spaces for personalisation and accommodate defined activities.

This contour map shows that the Trinity Squar Complex is a prominent structure that rises above its surroundings. While the Gateshead council claim that this is a regeneration strategy, we felt that this deepened the separtation between the complex and its context, the neighbourhood that surrounds it.


Right - 1:500 Massing Drawing; Bottom - 1:500 Massing Model

P.2.3.1

14 Study Typology


Left - 1:200 Collective; Top - 1:50 Perspective of Dwellingl

Bottom - 1:5 Detail Study Typology 15 P.2.3.1


P.2.3.2 Leith Symposium Oct/Nov 17


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Contextual Mapping of Leith

HISTORICAL CONTEXT In the past Leith’s employment base was quite distinct from that of the rest of Edinburgh, with a higher concentration of industry and warehousing, often related to the presence of the port. Leith Docks were historically central to the economy of Leith, exporting coal, wool and animal skins.

Around 800 persons are employed within the dock area, but most work in the other businesses located within the port boundaries; direct dock jobs are around 100.

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18 Symposium


Around 1m tonnes annually still pass through the docks, mainly dry bulk goods such as grain and cement, also a base for North Sea oil and gas support vessels. However the level of port activity is now a fraction of its heyday with only a few remaining heavy industries. Some relate to the port and North Sea activity eg pipe coating, marine engineering. Others include stonecutting, scrapyards, scaffolding and skip hire.

SOCIAL CONTEXT

There is a lower proportion of children and elderly residents than in other parts of the city correspondingly higher working-age population and fewer students. The predominant housing type in Leith is tenement flats – over 90%. Generally, households are small (1.8 persons on average) and there is significantly lower home ownership than in Edinburgh and a high proportion of rented property.

Few families live in Leith – it is mostly professionals, couples, and single people who move elsewhere when they start a family.

ECONOMIC CONTEXT Economic activity rates are also above average in Leith, indicating that many people are working or available for work.

There is a rich mix of traditional (eg construction, manufacturing, repair, services, motor trades, storage) and newer innovative companies (eg media, electronics, consultancies, health and fitness, social enterprises and charities).

Small Business Incubator Leith has long been a start-up point for small businesses, particularly those with less than 10 employees, which make up about 14% of the total jobs in the city.

Specialised incubator units such as the Creative Exchange and other serviced office initiatives have encouraged their growth.

represents a site of creative industry including galleries, film and video studios and design agencies


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20 Symposium


Rhythms of the Neighbourhood

2PM

5PM

The street is quieter than you might imagine, in the background is the faint but steady mumble of traffic as it flows through the industrial estate, though we are not far away the sound of the traffic is well muffled. The space has a calmness about it, only occasionally broken by a passing car whose tyres on the cobbles of the road make a rippling sound that is unusual enough to sound more interesting than irritating, especially in its infrequency.

The traffic has started to pick up along the street now, the start of rush hour, but it’s still quite low level.

There are one or two people walking along the street, not as this time of day. The space has a buzz about it, you can hear the chatter of people as they sit outside the café eating and drinking, the clinking of cups on saucers, sometimes the barking of a dog.

Overall there is less of a sense of emptiness, this is perhaps the busiest time of the day, which could be said of the links too. There is still a steady but now greater flow of dog walkers and their dogs now people are home from work to take them out. The play area which peaked in activity just after school finished is now only being used by one family.

A group of office workers are sat having a late lunch, the regular lunchtime crowd have not long gone. Occasionally the sound of a passing car makes it way through the row of trees, but now it just a mumble.

The site sees a surge of activity, those who work in the innovation hub are starting to leave in rushes, the majority are walking home, but a handful are driving. The café has started to quieten down since lunchtime, now the main activity is clearing away Those who live in the housing blocks are also starting to return home but in more of a steady stream compared with those leaving.

There is a small group of office workers stood on the corner chatting away as they smoke their cigarettes, they appear in here a few times throughout the day, always all together. The links show a greater sign of life; people walking their dogs come and go steadily, as does the occasional jogger. The tennis courts appear to be well used, a group of young people seem engrossed in their game upon them. The small children’s play area is empty despite the sounds of play laughter which instead is coming from the nearby school’s playground.There are one or two people walking along the street, on their way back from their lunch break or on their way to the café from the links.

More people are passing now too; some coming from the offices at the end of the street and others going home to one of the housing developments that run alongside the site. Some are also just passing through, occasionally someone is waking with a child.

There are significantly more people coming and going from the site than there are passing by along the street. This surge sees the space the busiest it is all day, but it will soon quieten back down and be much calmer than it was earlier in the day.The activity surge also affects the links with lots more people passing through. The play area is busy, with lots of families using it.

Symposium 21 P.2.3.2


Sunpaths through our site during key points around the; Top - Winter and; Bottom Summer Solstices

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22 Symposium


Group D2

Through developing each of our groups masterplans within our studio, we were able to collate analysis of our site in order to inform our design proposals later on. Massing our mastwerplan was concentrated in the top right corner of the site where sun for southern facing balconies could be maximised. By building up the massing to this North-Western corner in this way it also provides a cut-off between the residential nature of the front of our site and the heavy industry and warehouses that lie directly behind the set of apartments that border its northern face. Based on my groups contextual mapping of Leith, we proposed an Innovation Centre also to be housed on site that would hold facilities for young creatives and start-up businesses. Dividing the private realm of the residential blocks and the semi-public office and workshop facilities is an expanse of green bringing the flow of Leith Links, adjacent to our site, into the masterplan as well which could be used by both the residents and office workers. Major path ways, shown in brown in the above 1:1250 site plan, link Leith Links to the top most part of our plan and draw people into the centre of our site to encourage the most interactions between people from respective realms within this public/privae threshold. The yellow marked on both the 1:1250 plan and drawn perspective of our masterplan is representative of the space allocated for our Dwelling Plus proposals. Symposium 23 P.2.3.2


P.2.3.3 Dwelling Plus Nov/Dec 17


05

SOCIAL CONTEXT

ECONOMIC CONTEXT

Apologia As already referred to in the Leith demographic, I should be providing affordable living for young professionals. Also through analysis of the economic context of Leith, I know that the city has long been a start-up point for small businesses, and newer innovative companies. Specialised incubator units such as the Creative Exchange and other serviced office initiatives have encouraged their growth within Leith and my proposal builds on this. The creative industries play a strong role in animating an area and generating vibrancy and Leith is an increasingly popular location for creative enterprises. The area has the appropriate ambience for these businesses to grow with a developing café culture, gallery spaces, creative events and activities that involve the whole community such as quarterly annual festivals. There is already an expanding network of young creatives in Leith as shown by the existing facilities that mine would join, however there is currently a shortage of suitable, affordable workspace for young professionals and start-up businesses to grow and test ideas in. There is a shortage of both small studio and workspace units (eg up to 100m2) as many of the traditional creative studio spaces have waiting lists and larger spaces are also needed for already established organisations seeking to expand their facilities therefore there is no space for people who are just starting up. The creative network set-up at the moment also lacks a central hub / information exchange where creative practitioners could meet, discuss ideas, and which offers services such as meeting rooms, café and exhibition areas. My proposal therefore addresses these gaps by housing a digital fabrication workshop or ‘FabLab’ within its facilities. This would be a place that would provide the necessary machinery and amenities for small creative businesses to test ideas out, as well as provide office spaces, meeting rooms and presentation spaces. These would be rented out for enough time for the business to get on their feet before moving on to a bigger facility hopefully with the goal of expanding. This time period could be anywhere between 3-6 months. While making a suitable work environment for this relevant socio-economic group, I also wanted to create within the same space a fun and vibrant place for young creatives to live in and challenge the normal boundaries set up between the public and private thresholds in this way. I grew up in a Georgian terrace house so have come to attribute a lot of characteristics of the home with its amenities such as going ‘upstairs’ to bed and I wanted to combine that sense of the home with the modern commodities that a young professional would look for in a live-work environment through flexibility of spaces and combination of ‘old aesthetic’ and modern technology. 25


Leith in Context; Our Site 1:1250 P.2.3.3

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‘New-Build’ Developments on Site

‘Old’ Existing Buildings on Site - Georgian Style

Dwelling Plus 27 P.2.3.3


Network Map of Existing Creative Industry Facilities and Local Material Merchants in Leith

Metal Workers Pottery and Ceramics suppliers & services

1 2 3 Stone merchants

4

5

7

6 Scrap metal merchants

Masonry merchants

8 10

1. Edinburgh sculpture workshop 2. Leith School of Art 3. Coburg House Studios 4. Leith Creative Exchange 5. My FabLab 6. Out of the Blue Drill Hall 7. Rhubaba Studio 8. WASPS at Albion Road Studios 9. Edinburgh Contemporary Crafts 10. St Margret’s House

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Vehicular and Pedestrian Routes around our site

Massing and Form of Building in Context of the Masterplan and Internal Spaces Diagrams

Dwelling Plus 29 P.2.3.3


Courtyard Lobby

Communal Working Front Access

Public & Private Programme

Private Balcony Work

Living

Dwelling Sleep Circulation Back Access Bathroom

Communal Laundry

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30 Dwelling Plus

While providing permanent housing for residents, the programme of the public realm within my building is a workspace for young creatives in start-up practices including office space and practical workshop facilities. For the latter, I based volume of spaces and machines to be used on the Altrincham Fab-Lab in Manchester, these include 3D printers, Laser Cutters, Vinyl Cutter and a Shopbot CNC. In initial diagramming of relational spaces, shown below, industry (machine workshop), semi-public facilities (office/ studio spaces) and residential spaces are shown as black, dark grey and light grey respectively.


Dwelling Plus 31 P.2.3.3


Public & Private Thresholds Looking at the precedent O’Donnell & Tuomey’s Central European University, I decided the most effective way to split the public and private realms would be through vertical circulation. With a central communal green space, residential spaces will be connected by passages of criss-crossing stairs which remain inaccessable but visible to the public and industrial realms as a spectacle. Residential spaces on this page are shown in orange, semi-public in yellow and industry (workshop) in red.

Programmatic Diagram of Spaces

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32 Dwelling Plus

Conceptual Drawing of Spaces based on the Central European University as a precedent study


Initial Concept for Building in Section

Dwelling Plus 33 P.2.3.3


Original Dwelling Plans Exploded showing apartments spread over two floors

Original Dwelling Plans 1:50 P.2.3.3

34 Dwelling Plus


Dwelling Plus 35 P.2.3.3


1:1250 Original Masterplan showing form dictated by routes through the site in red dashed lines

P.2.3.3

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1:200 Diagrammatic Plan of Building in Context of site specifically looking at the relationship between the main access route, Salamander Street, and access to the rest of the site

Through development of programme and the threshold between the private and public realms, I divided the form of my building in two: one building facing North to optimise North-light for work spaces; and one building orientated to South to optimise Southern-light for dwelling spaces. Division of the Structure in these two halves creates a new public access route into the rest of the masterplan and a semi-public/ private courtyard for the residents and employees.

Sketched experiential route through proposed building and into the Masterplan Dwelling Plus 37 P.2.3.3


1:500 New Proposed Masterplan showing extension of terraces through the site to meet my building

P.2.3.3

38 Dwelling Plus


1:500 Section through back of Existing Site, East to West, showing prefabricated ‘new-build’ and industrial parts


1:500 West Elevation of My Proposal for the site

Dwelling Plus 41 P.2.3.3


Precedent of The British Library as ‘copying’ an old style of architecture without becoming pastiche and my proposal of facade design based on the Georgian Terrace P.2.3.3

42 Dwelling Plus


1:200 Materiality Dwelling Plus 43 P.2.3.3


1:100 Original Ground Floor Plans showing External Masonry Wall Construction

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44 Dwelling Plus


1:100 Original First Floor Plans showing External Masonry Wall Construction

Dwelling Plus 45 P.2.3.3


1:100 Original Second Floor Plans showing External Masonry Wall Construction

P.2.3.3

46 Dwelling Plus


1:100 Original Third Floor and Roof Plans showing External Masonry Wall Construction

Dwelling Plus 47 P.2.3.3


1:100 Revised Ground Floor Plans showing Internal Timer Frame Construction

P.2.3.3

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1:100 Revised First Floor Plans showing Internal Timber Frame Construction

Dwelling Plus 49 P.2.3.3


1:100 Revised Second Floor Plans showing Internal Timer Frame Construction

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50 Dwelling Plus


1:100 Revised Third Floor and Roof Plans showing Internal Timber Frame Construction

Dwelling Plus 51 P.2.3.3


1:50 North to South Section of building showing inhabitation of programmatic spaces and the marrying of the timber frame with thick masonry faรงades


Dwelling Plus 53 P.2.3.3


1:100 Original South Elevation showing large metallic modernist balcony design that accommodates more people at a time along with 1:50 dwelling plan

P.2.3.3

54 Dwelling Plus


1:100 Revised South Elevation with new balcony designed for more intimate interactions away from designated communal spaces along with correspondingly new 1:50 dwelling plan

Dwelling Plus 55 P.2.3.3


P.2.3.4 Inhabit Nov/Dec 17


06 Through Inhabit I explored the possibilities of inhabitation within the design of the external wall and in turn the relationship these spaces share with other parts of my building.


1:100 Internal Elevation of External Wall showing Inhabited Spaces within in relation to External Facade, beneath, with staircase, exclusive to residents, that connects bottom to top floor and gives access to shared washing line

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58 Inhabit


Axonametric Inhabited Spaces across the floor of a dwelling showing transitions between communal activity to intimate and more private spaces

Inhabit 59 P.2.3.4


1:20 Inhabited Dwelling Plans showing flexibility of openness of spaces for working and social occasions within the live-work community of young professional residents

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60 Inhabit


Inhabit 61 P.2.3.4


1:20 Detail Model showing inhabitable spaces within external wall and relation to front door access of a dwelling

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62 Inhabit


Inhabit 63 P.2.3.4


P.2.4 Engineering Experience Feb 18

Group A1 - Requiem For A Dream


07

Within a project entitled Engineering Experience, as a group we asked how we could make the audience of our film feel as they watched within the spaces we created in and out of film. We almost unanimously agreed on which scenes we thought were most provocative from the film and from these sketched initial storyboards and ideas for our maquette that could somehow intrude/intervene/interact/enhance the viewing experience. Division of tasks within the group was decided quickly by experience. Those who had previously made projects working with, or simply owned, a camera set out to start testing ideas through filming, while we who had shown more interest while brainstorming ideas for our installation/maquette started experimenting through building. However, it is fair to say by the start of Week 2 assigned roles had been forgotten and an “all-hands-on-deck” approach was adopted to finish and combine the efforts of the different parts of our project. Collaborating with a fine art student proved challenging, and sometimes frustrating, as we were often working against our respective courses’ schedules, however this is something we as architecture students are fairly used to due to the flexibility of studio hours and varying preference towards hours of productivity between individuals.The tasks of both making the film and maquette proved easier once we had freed ourselves from replicating/ recreating the imagery and methods only used by Aronofsky and started to think about more abstract ways of representation. Requiem for a Dream lingers uncomfortably on the mind a few days after you first watch it and we wanted to replicate this discomfort within our film. We chose the eye as a motif to be used for transition between at first seemingly ordinary, slow shots and then be used as a catalyst for the emotion of anxiety/sickness and overwhelming inescapability of decline into addiction our movie was describing. Matched and mismatched with dirty or uncomfortable imagery such as the disembodied ponytail being held and brushed or flexed veins pushing at the skin, we increased the intensity and rapidity of the changes in images as the mundane everyday activity associated with our addictions became increasingly unpalatable. Concentrating emotions of discomfort by zooming in further and further each time, with progressively more gruesome or grotesque effects applied such as the pulling/holding open of the eye, we hoped to breach the viewer’s limit of comfort which we knew had been realised when we heard groans in the final moments of our film when the blade of a scalpel was slid under a flaked skin wound. Through this project I learnt the power music and editing can have over a film as simple initial test shots such as spilling milk later became devices for discomfort as through editing we could show the act of spilling reversed or in slow motion with different colour hues and to think more carefully and abstractly about how architectural spaces can impact/influence and enhance the experience of the person who inhabits it.


P.2.4

66 Engineering Experience


Engineering Experience 67 P.2.4


P.2.5 Exploring Experience Feb - May 18


08 Wang Shu’s Ningbo Museum

Apologia Unfamiliar with the term Upcycling before this project, I soon became intrigued by its possibilities and the number of different directions I could take this project in. The importance of establishing an atmosphere within the spaces we created was recognised early on and having already experienced the site as we had walked around it, I found portions of it to feel very narrow, sheltered and often dark so was naturally attracted to the possibilities of bringing light into the space in creative and innovative ways. Defining my constraints early on of not wanting to deconstruct/demolish/interfere or badly affect the majority of the buildings on site, I set about taking a thin slice through the centre of the site. I struck a balance between dramatic creative design choices that had to remain sympathetic to existing views from windows in facades. This meant a low-rise/single-storey structure at the front of the site as it weaved between the front and adjacent terraces until it could unfurl itself into a seven-storey tower that would be able to capture the stunning views of Durham that we could experience as we walked down to the site from the Station Approach. Defining materiality was also greatly important with a studio theme as broad and wide reaching as upcycling. I decided in order to stay true to sustainable design strategies, I would only use locally sourced materials within my design and this would also apply to the artists working in my resident studios. I wanted to celebrate the exciting aesthetic, as well as environmental design, possibilities of Upcycling through the unique furniture produced and exhibited by my artists to the very form of my building. Through looking at precedents such as The Historic Ningbo Museum in China and Dimitris Pikinois landscaping of Athens, I devised a unique material strategy for my building involving the collection and then layering of materials sourced from recycling and scrap material merchants (the most abundant of which being construction and commercial and scrap metal) while also making full use of the materials that may otherwise have been wasted from the construction site formed by the new development directly below our site.


Durham Design Festival Inspired by an exhibition put on by the London Design Festival a couple of years ago, my site would be at the heart of the new and thriving Design Festival based in Durham that would celebrate local craftsmanship in a series of exhibitions put on throughout the city along my proposed route shown at 1:2500 on the left. The route follows major public arenas in Durham including the Cathedral and Market Place as well as encompassing the locations of specific local stores and workshops that specialise in distinct methods of design such as glass. My building marks the end of the route and will be home to my proposed Centre for Upcycled Art, an artists studio/ workshop and exhibition facility that specialises in making incredibly creative and innovative furniture from upcycled materials. Below is a photograph of the London Design Festival’s Upcycling exhibition showing work from artists I wish to include in my scheme such as Michael Marriot and Jaime Shaw.

Exploring Experience 71 P.2.5


Durham in Context; Our Site 1:1250 P.2.5

72 Exploring Experience


Photographs of our site

Key Views/ Moments within and out of the site

Exploring Experience 73 P.2.5


Network Map of Material Merchants within a 10km radius of our site


Materials Map Key

Pedestrian and Vehicular Routes

Red - General Recycling Orange - Construction and Commercial Yellow - Scrap Metal Light Green - Paper and Cardboard Dark Green - Old caravan Parks and Storage Units Blue - Tyre recycling Purple - Clothes/Textiles Recycling

Experiential Map made as we walked through the site

Exploring Experience 75 P.2.5


Process of artist Jaime Shaw in making furniture from plastic with specially made gun

Circulation Foyer/Reception Cafe

Exhibition Space

WC

External Testing Artists’ Studios Space Meeting and Presentation Residential Rooms Artists’ Workshops Storage

James (Jamie) Shaw works with - recycled paper fibre - pewter - plastic Michael Marriot works with -plastic Collaboration with Smile Plastics

PUBLIC

SEMI-PUBLIC

PRIVATE

Floor Areas and Adjacency of Spaces (Route through Building) 1:200

Process of artist Michael Marriot in collaboration with Smile Plastics, a company that specialises in producing hard-wearing surfaces from old food packaging and other forms of recycled plastic

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76 Exploring Experience

Bob Campbell - already based in the North-East works with - scrap metal


Schedule of Accommodation and Massing at 1:500 My own constraints for massing: - Only the two front buildings and back buildings may be de-constructed/affected by the new build - Therefore I must be respectful of all other existing faรงades paying particular attention to windows and existing access routes to back doors and garages

100m^3

150m^3

600m^3

500m^3

600m^3

600m^3 +(150m^3) Storage +(150m^3) WC +(150m^3) Circulation

Exploring Experience 79 P.2.5


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78 Exploring Experience


Site analysis showing key views, experiential qualities and existing routes through the site that influenced my proposed building form at 1:500

Large Concrete structure just below site being demolished and therefore providing sustainable materials that can be salvaged and reused, “upcycled�, within my new build

Exploring Experience 79 P.2.5


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80 Exploring Experience


Original sketched plans, sections and elevation of my building within the site taking over the two front and two back buildings of the site. My proposal exists here only reaching a maximum 5/6 storeys high.

Exploring Experience 81 P.2.5


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82 Exploring Experience


Secondary sketched plans and section at 1:500 of my building within the site and now in context of the railway station. At this stage my proposal still occupies the two front and two back buildings of the site, but reaches 7 storeys in height, now rivalling views of Durham from the Station approach.

Exploring Experience 83 P.2.5


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84 Exploring Experience


Initial 1:200 Model within context of site showing thoughts towards materiality of the building and the experience of spaces as you walk through it

Exploring Experience 85 P.2.5


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86 Exploring Experience


Initial roof design in relation to spaces beneath it in section against more thought out and purposeful light-well orientated and location in relation to movement around them and between them at pedestrianised roof level and function at atmosphere of spaces beneath them, shown in diagrams overleaf, with; 3 light-wells lighting and directing the way through the linear gallery/ showroom/main passage way through the ground floor beneath, 3 light wells to informally divide the space of the open plan workshop between the three resident artists; and a light-well directly above the stair-well that leads down into the resource library. On this page are 2 more formal diagrams showing materiality of the roof and atmosphere of the ground floor created by shafts of light from above at 1:200 scale.

Exploring Experience 87 P.2.5


P.2.5

88 Exploring Experience


Materiality Diagrams and sketches of facade design based on the precedent Ningbo Museum that utilises sustainable, locally found, materials in a layered masonry facade system

Exploring Experience 89 P.2.5


Found Materials

Precedents - Dimitris Pikinois’ Landscaping of Athens & Wang Shu’s Ningbo Museum Facade

My own found material and following photographs and collages representing potential materiality and experience of spaces P.2.5

90 Exploring Experience


Exploring Experience 91 P.2.5


P.2.5

92 Exploring Experience


Exploring Experience 93 P.2.5


P.2.5

94 Exploring Experience


Perspective of newly proposed 8 storey tower showing its materiality based of Wang Shu’s Ningbo Museum. The extra height of the tower negates the need to house residential space within the adjacent building and from here on out that building will remain unaffected by my build.

Exploring Experience 95 P.2.5


1:100 Ground Floor Plan P.2.5

96 Exploring Experience


1:100 First Floor Plan


Programme of Spaces:

Programme of Spaces:

Large Open-Plan Flexible Gallery Space

Top Floor Cafe with panoramic views of Durham

Fourth Floor

Seventh Floor

Programme of Spaces: Second Floor of Artists’ Residence - bedrooms and bathroom Second Floor of “Miniature” Gallery Space Third Floor

Programme of Spaces: Large Open-Plan Flexible Gallery Space Sixth Floor

Programme of Spaces: First Floor of Artists’ Residence - Communal Living Space “Miniature” Gallery Spaces - small exhibitions placed along route of stair well, a teaser of larger exhibits housed above Second Floor P.2.5

100 Exploring Experience

Programme of Spaces: Large Open-Plan Flexible Gallery Space Fifth Floor


Tower Elevation 1:100 The tower’s facade pushes backward and forward designed to interact with the central staircase that winds up the building’s seven storey atrium. The large windows span between floor heights unaffected by intermediate floor joists due to the atrium space that separates them from the front facade so is therefore able to provide the gallery public spaces with plenty of daylight while also framing beautiful views of Durham and its Cathedral.

Exploring Experience 101 P.2.5


Section 1:100 This section shows atmosphere of spaces due to light let into it by light-wells in the ground portion and the glass roof atrium through the tower.


Model 1:100

P.2.5

104 Exploring Experience


Day

Night

External to Internal Thresholds

Exploring Experience 105 P.2.5


In making this model I hoped not only to convey overall form but also materiality and experiential qualities of the space by layering and folding tracing paper to mimic the three-dimensional textural nature of my interior wall faรงades

Photographic Experiential Route through Building

P.2.5

106 Exploring Experience


Photographic Experiential Route through Building

Exploring Experience 107 P.2.5


P.2.5

108 Exploring Experience

Iniitial Atmospherics of Roof Space and Cafe at Top Floor of Tower


Atmospheric at Entrance at Front of Site showing Resource Library and Route up to Roof Passage to Tower

Exploring Experience 109 P.2.5


P.2.5

110 Exploring Experience

Atmospheric Perspective of Front Elevation of Building


Perspective showing Materiality of Building within context of site - the facade of the tower here is shown taken apart to illustrate the relationship between the layered-found material front elevation and the recycled metal cladding of the adjacent and opposing elevations. Where the facade bends inward and forms a curtain wall the recycled metal cladding wraps round and “hugs� it at these points.

P.2.6

112 Integrated Technology


Exploded Structural Plan of Ground Floor portion of building showing primary, secondary and tertiary structure: Primary - Reinforced Concrete Columns and Beams Secondary - Vertical and Horizontal Members within wall structure Tertiary - Layered-material facade/cladding

Integrated Technology 113 P.2.6


1:5 Construction Details

1.

2.

Precedent Construction Techniques 1. 150mm precast concrete units 240mm hollow brickwork cavity

Proposed Construction Technique

240mm air cavity

50mm recycled materials slab

100mm sandwich panel with fibre-cement surface

Horizontal brackets

20mm gypsum plaster

50mmx50mm vertical members

2.

50mm insulation

240mm facade system of wapan masonry tied back to linear concrete panels

8mm rainscreen specialist board

Mortar Reinforced concrete structure P.2.6

114 Integrated Technology

146mm steel stud work that sits between reinforced concrete columns Vetrical and horizontal members repeated internally to support internal material facade


Ground Floor Construction

1:20 Constructional Section

Pile Foundations 500mm Pad 150mm Hardcore 25mm Screed 125mm Insulation 150mm Slab 30mm Panels of Material Finish

Integrated Technology 115 P.2.6


Crafting Architecture


09

Mapping Workshop I personally found this the most enjoyable and useful workshop of the year, learning from and engaging with the artist to develop this new technique of site analysis. By marking a route on a map and then proceeding to walk around it writing down anything the body had experienced I gained a new perspective on characteristics that define a space architectural and the importance of experiencing them first hand to gain a thorough understanding of the site. Since the workshop I have used this process of site analysis in the project based in Durham encouraging the rest of our site group to do the same and made my own mappings and worked from them in order to form my design proposal.


118 Crafting Architecture


Diagramming Workshop This workshop was different in nature to the first with less emphasis on individual output during the session and more of a tutorial on the ‘visual poetry’ of diagramming and the importance of it is a tool in our design process in general. From the session I was able to produce several 1:200 sectional diagrams of my building proposal in my Leith project illustrating design characteristics of spaces based primarily on light. This particular diagram depicting activity based on natural daylighting and sunlight proved incredibly useful in the formatting of my programme diagramming throughout the project.

To the left is another useful diagram mapping the potential link in function between the laundry room and external washing-line whereby the hot exhaust air ejected by the machines would rise to aid the drying of the relatively sheltered line. By carrying on the sectional diagram strategy through the rest of the building I was also able to show vertical circulation of air through the building within the same diagram.

Crafting Architecture 119


Detailing Workshop The detailing Workshop fell at an awkward time within my creative progress of the Durham project so I was unable to gain much use from it as I will unclear of my design and structural choices at the time. However, following the session with Ben I did gain a deeper understanding of the necessary considerations of an external wall to floor junction and once aware of my structural scheme, essentially a rainscreen cladding system, I was able to implement this understanding within my own output of a detail sketch which formed a major part of my Integrated Technology portion of the project.

120 Crafting Architecture


Structures Workshop From the structures workshop I developed a plan for my roof construction of my Tower for Durham as well as some basic diagrams of primary structure within the building. The roof detail was developed as shown to the left as a coffered slab roof construction with glazing over the part that would light the atrium beneath. The roof shape was also developed, a 10 degree slope meeting a parapet and then a downward slope at the same angle to meet the wall at the back to allow for water drainage off the roof

Crafting Architecture 121


ARC 2009 Coursework Semester 1 Architectural Technology


10

Tectonic Intent & Declaration of Dwelling Plus On first visit to our site, I discovered a battle going on between future vs traditional methods of construction. The North and West sides of the site are encased by plastic-like prefabricated structures, efficient and cold, housing multiple apartments to a floor that looked down harshly at the grade-listed georgian terraces on the southern end of the site. My intent therefore was to create a building that bridged this gap, a hybrid of traditional characteristics associated with the structural and aesthetic elements of the timeless gerogian architecture that simultaneously was a structure of equal efficiency and modernist technique to match that of the newly made apartments that inescapedly enclose the site. Bringing back these ideals of building heritage my first step was to extend the terraces through the site to meet my building and to mimick their outer skin therfore I decided to encase my structure in the typical masonry and blockwork geometries associated with these types of homes eg. soldier coursing. Georgian facades are known to warp the perception of passers by of the buildings true height by having large windows on ground level and incresaingly small window at increasing heights as you extend up the facade similar to the intent of my case study for this coursework, Michael Green’s Wood Innovation Design Centre. By mimcking the georgian facades, and also by using double height spaces on the gorund level, I feel I have achieved this in my design. Also in line with the case study and the growing movement in the use of wood in multi-storey buildings, my primary structure is a grid of glulam timber columns and beams met by timber floors and other timber joist structures in the walls. The choice to expose the structural frame throughtout the building is purposeful. Within the upper floor apartment I feel wood acts as a material with a natural domesticity and warmth that proposes comfort, however as proposed in the case study, wood can also give a response in industry and perhaps my FabLab will specifically draw in young start-up businesses looking to prototype models in wood which my on-site facilities cater for. My choice of roof construction is dictated by the angle required to allow low winter sun into the central courtyard space (being 10 degrees) which also happens to be a maximum angle for a warm flat roof construction. In order to keep to stay true to my ‘georgian-intent’, I chose to use tiles as a roof covering however needed to specify the type of tile required (refer to Constructiion Declaration) as this is not normally achievable at an angle as low as 10 degrees.

ARC 2009 123


124 ARC 2009


ARC 2009 125


ARC 2009/10 Coursework Semester 2 Environmental Design


11


128 ARC 2009/10


ARC 2009 129


ARC 2024

About Architecture: Cities, Cultures & Spaces


12

ARC 2024 131


132 ARC 2024


ARC 2024 133


134 ARC 2024


ARC 2024 135


136 ARC 2024


ARC 2024 137


esler (1890-1965)

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ARC 2020

Dissertation Studies and Research Methods

Frederick Kiesler sleeping in his studio, New York, 1958/59 Frederick Kiesler with his model Endless House, New York, 1960, Photo: Irving Penn


13

ARC 2024 139

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Isabel Fox Stage 2 Design Portfolio Newcastle University  

Isabel Fox Stage 2 Design Portfolio Newcastle University  

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