2020/21
Jana Senberga Portfolio BA3 CIA / BA3
STUDIO 3.2 / Jana Senberga
1
2020/21
Task and the Client
TASK
To design dynamic individual sets of spaces for three clients - Assembly, who provide co-working spaces, FUSE volunteer led art gallery and Bradford Civid Society.
LOCATION
The ever evolving edge of Bradford City Centre, re-imagining the Top of Town
ACTION
Design proposals are developed based on site analysis of the city and location, and of series of design research exercises ‘tasklets’.
CLIENTS
STUDIO 3.1 / Jana Senberga 3
2020/21
main pedestrian streets site location
UNDERSTANDING THE TOWNSCAPE LANDMARKS, MUSEUMS : 1. 2. 3. 4. 5. 6.
6.
National Science and Media Museum Bradford City Library Centenary Square The Peace Museum War memorial Statue of Richard Oaster
IMPORTANT GRADE I LISTED BUILDINGS :
Bradford City Hall 4. Bradford Cathedral
The Wool Exchange
2.
IMPORTANT GRADE II LISTED BUILDINGS :
3.
Rawson’s hotel
Fountain’s Hall
5.
1. N
STUDIO 3.1 / Jana Senberga 4
2020/21
Serial vision : site G
Movement in plan
1. The street faces a further distinct point, a Grade II listed building Rawson’s hotel.
2. A lot of pedestrians can be seen around the streets as there are many smaller shops.
3. The distinct point can be become cleared, creating a beautiful destination of the street.
4. The Rawson’s square is largely used by cars, and people coming in from the left to the bus stops.
5. People walking around the site, to all directions.
6. When cornering the site, we come up to a dip in the site, where many people are gathering and spending time.
Start of the journey was decided to be from the high traffic street, coming straight to the dip of the site.
STUDIO 3.1 / Jana Senberga 8
2020/21
Existing site qualities
Advantages and disadvantages Advantages : 1. The site is reachable by cars and pedestrians - direct access
2. Main street of the site is pedestrian, thus creating an opportunity for accumulation of pedestrians
3. Good location, close to main pedes-
trian streets to the city centre with landmarks and tourist destinations
1.
3. 2.
ings and patches of green space
Disatvantages : 4.
6.
4. Good views to Grade II listed build-
4. Only views are directed towards nearby buildings
5.
5. Very little surrounding greenery, potential for creating landscape
6. No surrounding parking spaces, thus can decrease accessibility
STUDIO 3.1 / Jana Senberga 12
2020/21
Environmental Analysis WIND DIAGRAM SUNPATH DIAGRAM
In Bradford, strongest wind is from West-South-West direction, West and South-West direction. However, the large store blocks the wind to the site, therefore allowing it to be a shielded area, perfect for a public square.
SUN PATH DIAGRAM
Summer solstace Winter solstace
AVERAGE, MIN AND MAX TEMPERATURES 2020
AVERAGE RAIN DAYS 2020
max
The site is quite shielded from direct morning or evening sun, and midday during winter. However, during summer, the high sun angles allow direct sun into the site. Keeping in mind that the surrounding buildings will mostly cast a shadow over the site.
average
15°C
30 days
min
10°C
20 days
5°C
10 days
0°C Jan
Feb
Mar Apr May
Jun
Jul Aug Sep
Oct Nov Dec
0 days Jan
Feb Mar
Apr May Jun Jul
Aug Sep Oct
Nov Dec
STUDIO 3.1 / Jana Senberga 14
2020/21
statement of intent
PROPOSITIONS FOR THE SITE
Accumulating people in the public square, where people can interact with the building and the use of it from the outside. Bringing interior into the exterior.
BRINGING PEOPLE TO THE SITE / The building would create a public space that accumulates peaople from all directions. Moreover, accomodating the FUSE gallery, during summer months the gap between buildings could create an outside gallery.
LEVELING THE BUILDINGS / Currently, the FUSE art gallery next to Rawson’s Hotel is lower than the hotel, therefore creating a gap between the buildings, thus to eliminate it, the future design must be 4 floors high.
‘In urban groupings, ‘...a field of objects would be seen as a unit when they are defined by some dissimilar means of organization, or when, vis some idiosyncrast of form, polarize themselves into a cogent grouping’.’
choosing to keep the Rawson’s hotel and demoloshing the opposite two buildings
creating all access public square
cluster pathway
of
buildings
creating
a
STUDIO 3.2 / Jana Senberga
Thomas Schumacher from ‘Contextualism: Urban ideals and Deformations’, 1971
4
2020/21
introduction to overarching themes
‘The ultimate meaning of any building is beyond architecture; it directs our consciousness back to the world and towards our own sense of self and being. Profound architecture makes us experience ourselves as complete embodied and spiritual beings.’ (Pallasmaa, 1996: 13)
D E T A I L S T H E
T O U C H, T H E
The joint, that is the detail, is the place of meeting of the mental construing and the actual construction. (Frascari, 1983)
V I S I O N
Vision reveals what the touch already knows. We could think of the sense of touch as the unconscious of vision. Our eyes stroke distant surfaces, contours and edges, and the unconscious tactile sensation determines the agreeableness or unpleasantness of the experience. (Pallasmaa, 1996: 46)
T H E
N A T U R A L
Wright wrote, “Ornament is to architecture what efflorescence of a tree or plant is to its struc - ture. . . . the character of structure revealed and enhanced.” (Ford, 2011:97)
E X P E R I E N C E I experience myself in the city, and the city exists through my embodied experience. (Pallasmaa, 1996: 43)
T H E
C O N T E X T
‘Not to see finishing as the final moment of construction but to see the unending deterioration of a finish that results from weathering, the continuous metamorphosis of the building itself, as part of its beginning(s) and its ever-changing "finish"’ ( Leatherbarrow and Mostafavi, 1993)
STUDIO 3.2 / Jana Senberga
6
2020/21
Spatial arrangement development
1 / OPEN GAP AND SEPERATE BUILDINGS The buidlings are seprated into 3 masses, creating a gap to be used by the art gallery for summer exhibitions and cafe for a tucked, private area. Third building being seperated from the busyiness of the art gallery and placed in the Rawson’s square, creating another street, pathway continuing from the Darley street, which connects to a pedestrian part of the town. (Creating another route)
2 / ONE MASS The two seperated buildings on the right are filled, thus creating one larger mass of rounder shape, as a continioution of the Rawson’s Hotel. Connecting the building on Rawson’s square to an existing structure, mirroring the inverted facade, thus creating an oval square. Moreover, a larger watchtower mirroring the Rawson’s hotel. However, it shields the view (Serial vision) from the Rawson’s Hotel, which is meant as a tourist attraction.
STUDIO 3.1 / Jana Senberga 18
2020/21
Editing the view - part B
ORIGINAL SITE
1 / UNUSUAL First iteration was of an oval shape, thus still maintaining the current two way pedestrian street. However, the oval shape does not fit into the wider context. Breaking apart, creating cluster.
2 / PATHWAY Creating a cluster of buildings that would create a particular pathway (not straight). Of unusual forms. However, does not create a square, rather passing by.
3 / CUT OUT Inspired by the first oval shape, the buidling is cut out to create a larger gap on the site, thus creating an enclosure.
STUDIO 3.1 / Jana Senberga 20
2020/21
Forming a public space
1.
2.
3.
4.
Diagramatic approach of creating a public space : 1 / Filling the available block 2 / Creating a void 3 / Creating patways to the void 4 / creating an organic form for the void
STUDIO 3.1 / Jana Senberga 21
2020/21
Forming a public space ORIGINAL SITE
1 / EXTENDED OVAL WITH A RECTANGLE GAP The building arrangement creates an oval square and a rectangular gap, thus creating room for outside landscape creation. The Rawson’s hotel and new stack of buildings on the right side creating a boarder of the site.
2 / SMALLER OVAL WITH A RECTANGLE ENTERANCE Smaller oval shape creates a relationship between the masses, creating a shorter, but larger square, opposite to previous being longer.
3 / LARGER OVAL WITH A RECTANGLE ENTERANCE By cutting off the edge of the building on the right side, creates a larger oval shaped square, without interrupting the rectangular enterance. Moreover, the similarities of the shapes of the buildings creates a unity.
STUDIO 3.1 / Jana Senberga 22
2020/21
Precedent - public enclosure ‘A building is like a soap bubble. This bubble is perfect and harmonious if the breath has been evenly distributed from the inside. The exterior is the result of interior.’
The Superkilen is a colourful square, which not only attracts visitors because of its activities, but because of its contrasting look between other buildings.
Thomas Schumacher from ‘Contextualism: Urban ideals and Deformations’, 1971
This has inspired to develop a square that would attract visitors with it’s colourfulness (art gallery) and landscape developed in 3.2 that would allow people to accumulate in the area.
Directions of movement, interacting with the buildings creating enclosure, a public square.
The treshold from the North side, creating a narrower, rounder area as if guiding people to stay in.
The treshold from public (traffic filled area) into a cozy, pedestrian only area.
Superkilen by Bjarke Ingels Group, Superflex, Topotek 1 COPENHAGEN, DENMARK
STUDIO 3.1 / Jana Senberga 23
2020/21
Accomodation Schedule / Adjecany diagram
ASSEMBLY CO-WORKING SPACES
BRADFORD CIVIC SOCIETY
TYPE OF ROOM
NUMBER OF ROOMS
SQUARE AREA
COMMENT
TYPE OF ROOM
NUMBER OF ROOMS
SQUARE AREA
COMMENT
Private offices
10
36 m2
Offices
1
100 m2
open plan offices
Public offices
rows of tables
140 m2
Meeting room
1
34 m2
for small meetings
Toilets
3
70 m2
Library
1
50 m2
small archives/library
Cafe
1
30 m2
small cubicles as private rooms open plan office with rows of tables 2 toilets + 1 disabled on each floor small cafe for coffee, etc.
Auditorium
1
97 m2
for larger audience
Meeting room
2
68 m2
small meeting rooms
Toilets
3
70 m2
Lockers
1
10 m2
Plant room
1
36 m2
Reception
1
30 m2
available for renters to leave their things in charge of lockers as well
2 toilets + 1 disabled on each floor on the roof or basement
Lift
1
8 m2
large enough for disabled access
Plant room
1
36 m2
on the roof or basement
Fire exit
1
15 m2
18 m from furthest point
Lift
1
8 m2
large enough for disabled access
Fire exit
2
30 m2
18 m from furthest point
ASSEMBLY CO-WORKING SPACES
9.
5.
FUSE ART GALLERY TYPE OF ROOM
NUMBER OF ROOMS
SQUARE AREA
COMMENT
Gallery space
1
108 m2
also for rentals
Studios
4
50 m2
for different activities
4.
BRADFORD CIVIC SOCIETY 4. 3.
Archives
1
25 m2
storage for art
Cafe
1
25 m2
small cafe for coffee, etc.
Shop
1
26 m2
for souveniers
Lockers
1
10 m2
Reception
1
30 m2
available for renters to leave their things in charge of lockers as well
Plant room
1
36 m2
on the roof or basement
Lift
1
8 m2
large enough for disabled access
Fire exit
1
15 m2
18 m from furthest point
9.
5.
8.
4. 1 3 4 5 6 7 8 9
/ / / / / / / /
gallery space auditorium offices cafe shop archives library services
1. 6. 9.
7.
FUSE ART GALLERY
STUDIO 3.1 / Jana Senberga 24
2020/21
PLAN VIEW
A path that a pedestrian would take by experiencing the artwork of the building.
Visitors experiencing the artwork and pedestrians having a look into the gallery.
Lo-Reninge Town Hall, noAarchitecten
Precedent - buildings as extended public spaces The gallery’s main purpose is to show artworks not only for visitor, but attract the passbyers as well, thus inviting into the building. By creating a glass facade, which shows artwork in the walkway, it opens up the building to the square, creating an artistic experience walking by. Similar to Lo-Renige Town hall, where going from one building to another, one can experience the outside and the inside. A sheltered feeling.
STUDIO 3.1 / Jana Senberga 27
2020/21
Connecting the buildings Historisches Museum Frankfurt by Lederer Ragnarsdottir Oei
Manchester central library walk, SimpsonHaugh
Museum de Lakenhal, Happel Cornelisse Verhoeven
- Mistoriches Museum Frankfurt shows an integrated glass connector between two prominnt parts of the building, works as a division of programmes. The glass filling is also extended, which is used as a watch area (as if stepping out of the building). - Museum de Lakehalcreates a feeling of outside inside. The building facades makes the area feel as a part of the stree. However, the glass shelter ensures the safety of weather, etc.
- Manchester Central Library Walk is a connector between the Library and the Manchester Hall, thus creating a beautiful transition between the both buildins. Moreover, the connector is of artistic design, thus standing out as own structure. Design approach to the connection between the buildings can be implemented into the design.
- The connection of the buildings would be between the FUSE art gallery and Bradford Civic Society. This can be explained by the need of the auditorium for the Fuse art gallery as well. Moreover, the glass structure would be marely for the public space, thus lower than the BSC building to ensure only private access to the higher levels of the building.
STUDIO 3.1 / Jana Senberga 30
2020/21
the big pebble
MOVEMENT The buildings are created to direct a path, as their rounder façades direct the way of the gallery wall, thus inviting people into the building. Assembly building on the right has a circular movement through the building to obtain most sunlight for seating area in all available façades.
The Assembly co-working building is positioned to not overtake the view of the Rawson’s hotel, creating a path.
STUDIO 3.2 / Jana Senberga
Circle showing an accumulation points from all directions
7
2020/21
heating, lighting, cooling and ventilation
2. 5.
1.
3.
4.
7.
PLANT ROOM
PLANT ROOM
PLANT ROOM
6.
1.
2.
Natural ventilation
Rainwater collection
Passive ventilation with window openings and atrium, used in combination with mechanical ventilation. This will save energy use in the summer, and provide fresh air.
Because the high amount of days in Bradford, rainwater be collected in tanks with the of green roof and re-used as water in the building.
3.
rain will help grey
4.
5.
6. 7.
Mechanical ventilation
Underfloor heating
Green roof
Ground source water pump
Especially in the gallery area and archive, there will be mechanical ventilation in order to preserve art.Ventilation vents will be in the ceiling gap.
The building will be heated up by underfloor heating, the heating pipes running in the floor gap with hot water extracted from the plant room.
Green roof provides additional insulation levels, noise control and helps with urban heat island.
Water is sourced from the Bradford cities water supplier, later goes through a heat pump, and maintained in the plant room for further usage with a water heater pump so all levels have hot water.
STUDIO 3.2 / Jana Senberga
9
2020/21
regulatory documents PART H : Drainage and Waste Disposal An adequate system of drainage has to be provided to carry foul water from appliences withing the building to a public sewer, which is moved through the walls (service gap) in the service riser.
PART B - Fire Safety In case of a fire, there must be a satisfactory means of sounding an alarm, which will be implemented by fire alarms in every room and satisfactory means of escape for people.
1 / The foul water drainage system has to convey the flow of foul water to its outfall, thus it must be large enoug to carry any unexpected flows. 2 / It has to minimise the risk of blockage and leakage and be accessible for clearign blockages 3 / All point of dishcharge into the system is fitter with a water seal trap to decrease escape of foul air. 4 / Because the building has an implemented rainwater collection and re-use, it must have tanks that are prevented from leakage, have an anti-backflow device and has to have an access for emptying and cleaning. 5 / Locations of storage of solid waste are specified in the building, that can be accessed by all occupiers of the building, which is placed on the street with an access of a waste collector.
1 / Escape routes are suitably located, sufficient in number and of adequate capacity, in the larger building there are two fire escape stairs and in the smaller - one. The stair width is 1100mm, which is the allowed minimum in assembly/office buildings. Furthermore, because the building has more than one direction of escape, the travel distance is 22m, which is by regulations for assembly/office buildings. 2 / Where necessary, escape routes are sufficiently protected, especially if besides with an external wall of the building, from the effects of fire and smoke by fire resistant construction.
PART K : Protection from Falling, Collision and Impact
3 / Every protected stairway leads to a final exit, either directly or via an exit passageway, all being seperated by doors from the main area and have a clear path to escape to the outside.
1 / Rise for general access stair is 160mm, goin is 250mm, which is stated by the regulations. 2 / The building will not use open risers to ensure safety of tripping, etc. 3 / Flights between landings have a maximum number of 10 risers on general and utility stairs. 4 / The size of the landing for utility sstairs is 700mm and general stairs is 1000mm. 5 / Handrails are in accordance to regulations, the top of a handrail is 900mm from the ground on each side of the stairs. 6 / Stairs, balcony, atrium and void (1100mm from the ground) are provided with barriers to protect people from falling.
4 / An electrically operated fire alarm system will be provided in every room as there is a possibility of fire breaking out in unoccupide rooms. The alarm will be operated by a fire detection system. 5 / Self-closing fire doors will be fitted with an automatic release mechanism, to avoid breakadge and therefore Refuges and evacuation lifts should be clearly identified. 6 / The escape doors cannot be fitted with a lock or fastening, as it has to be operable from the inside out. Doors have to be fitter with panic fastenings in accordance with BS EN 1125. In regulations, it is allowed to lock the doors with hardware only when rooms are empty (ensure security during the night).
PART M : Access to and use of Building
7 / The escape doors open to the oitside, towards the direction of the escape. And must end in an area, where poeple are able to rapidly leave the area around the building, which in this case is on a pedestrian street with larger accumulation area (not near traffic).
fire escape stairs
rainwater collection / reuse
8 / Escape route floor finishes should minimise their slipperiness when sprinklers are in use.
disabled access toilets
solid waste collection
STUDIO 3.2 / Jana Senberga
1 / The difference in level between the enterence storey and the site is 0, for easy wheelchair access. 2 / All routes in the building are accessible and cleared of any potential hazards. Auditorium is adjustable in seating size. 3 / The enterance doors are 2m wide and interior doors vary between 1000-800mm, according to regulations. 4 / Lifts are designed to fit all purposes and will have raised buttons to faciliate tactile reading 5 / All wheelchair accessible toilets open outwards, there is always available one disabled access toilet in each toilet area. 2 or 1 on each floor.
10
2020/21
climate emergency GREEN ROOF /
PRECEDENTS
There are little to no parks close to the site, thus to create a more natural feeling within a city, a green roof could be designed. Benefits : - reduces urban heat island effect - additional insulation - noise cancelation - reduces greenhouse gas emissions - reduce energy use RAINWATER COLLECTION / Green roof, Norway expo Green roof can be integrated into rainwater harvesting system. Benefits: - water can be re-used in the building - reduces storm runoff - decrease costs
GREEN ROOF
RAINWATER COLLECTION
SUSTAINABLE MATERIAL CHOICES
1. 2. 3.
SECOND FLOOR
FOURTH FLOOR
ROOF Open areas on the roof, between the green roof would be occupied as balconies, so people can also enjoy the outside, with a feeling of nature. Different biodiversity plants could be integrated in the design, possibly also creating a pattern, so the balconies are used more as a roof garden.
1 / TIMBER STRUCTURE / renewable material, recyclable and natural, carbon positive, low energy production, natural insulation. 2 / CELLULOSE INSULATION / made of recycled materials, great thermal performance 3 / SANDSTONE / low carbon footprint, durable, low maintenance costs, creates almost no chemical waste
STUDIO 3.2 / Jana Senberga
11
2020/21
material selection
PRECEDENTS MATERIALS ON SITE
Wood exposed columns and beams, thus creating a natural feeling, also appears to be lighter than concrete or steel columns.
GLASS Glass and wood integrating, thus creating an outside feeling inside. Lo-Reninge Town Hall
SANDSTONE
Based on already prominent colours on the site, wood would fit in between the warm yellow tones of the sandstone
WOOD
GLASS
The main enterance would be glass to attract visitors
SANDSTONE Manchester Central Library Walk The Rawson’s Hotel next to the Fuse art gallery and BCS is of sandstone, thus to integrate the building, it must have sandstone material. Assembly building in the Rawson’s Square should integrate into the surroundings Gallery facade of glass to open a look into the gallery.
Natural materials – stone, brick and wood – allow our vision to penetrate their surfaces and enable us to become convinced of the veracity of matter. Natural materials express their age, as well as the story of their origins and their history of human use. (Pallasmaa, 1996: 34)
STUDIO 3.2 / Jana Senberga
13
2020/21
glazing explorations / detail study
initial
proposed
Interior - exposed timber columns, exterior - spider curtain wall
By fixating the glass windows as spider curtain wall on the exterior of the timber columns rather than the interior, it is possible to obtain and effect of the walkway being filled/solid on the exterior, rather than split by columns.
CFT ARAUCO DUOCUC / GDN Architects
STUDIO 3.2 / Jana Senberga
16
2020/21
where both buildings meet / distinguishing the enterance
SERIAL VISION WALKING THROUGH THE SITE / PRECEDENT
The Summer House restaurant, DBALP
‘A building is encountered; it is approached, confronted, related to one’s body, moved through, utilised as a condition for other things. architecture initiates, directs and organises behaviour and movement.’ (Pallasmaa, 1996: 68)
STUDIO 3.2 / Jana Senberga
17
2020/21
enterance / collage iterations
The main entrance is chosen to have a visually appealing look, so people are interested to see what more the building brings, thus iterations with possible entrance designs are created. 1 / Melted metal/mirror The entrance would have melted metal detailing, similar to the precedent of Manchester Library Walkway. Although the mirror effect would brighten the area, the metal would feel colder compared to the exposed timber columns. 2 / Wood triangles Choosing the same material that the building already has in its design creates a sense of connection. However, it can seem too similar. 3 / Flowing wood Similarly to the melted metal,the ceiling creates an organic shape and connects with the exposed glulam columns of the building. 4 / Greenery To further keep the green roofs in relation to the building design, greenery could also be implemented into the interior look of the building. Bringing nature within the building.
STUDIO 3.2 / Jana Senberga
18
2020/21
enterance / visualization
The main entrance is created by wooden pieces attached to the ceiling, recreating waves of movement. To exaggerate the gallery ticket/information desk, the waves ‘hit the wall’, going behind the desk. The wooden wave-like elements mirror the roundness of the building and keep up with the wooden elements.
STUDIO 3.2 / Jana Senberga
19
2020/21
interior / the art cafe
‘Images are converted into endless commodities manufactured to postpone boredom; humans in turn are commodified, consuming themselves nonchalantly without having the courage or even the possibility of confronting their very existential reality. We are made to live in a fabricated dream world.’ (Pallasmaa, 1996: 37)
PRECEDENTS
Latvia’s National Museum of Art, Latvia
Because of a need of an archive in the gallery, similar to the precedent of the Latvia’s National Museum of Art, the archives would be in glass surrounding room, thus allowing people to look into the archives. Implementing this idea, the Fuse art gallery would have a cafe, where it feels like the art is surrounding a person even while drinking coffee.
STUDIO 3.2 / Jana Senberga
20
2020/21
Rawson’s square facade development / design drivers BUILDINGS ON SITE
PRECEDENTS
Historische Mitte Köln, Durisch + Nolli Architetti
Gallery of ARC, Koichi Takada Architects Most of the buildings around the Rawson’s square have double height windows, making the building seem taller than it is. A common theme of the windows are a combination of round and rectangle windows.
Furthermore, many buildings have rounder elements although the building itself has rectangular windows. All of the buildings also have dimensinsions to the windows by creating ‘framework’ around it.
STUDIO 3.2 / Jana Senberga
In order to miror the style of the buildings and fit into the site, the facade would have a mix of windows and to give facade depth, the windows would have ‘framework’ around them similar to the precedents.
21
2020/21
facade / section, elevation, plan Detail A
ROOF, TERRACE / 1. 2. 3. 4. 5. 6.
terrace descking metal pedastals roofing membrane celuloce insulation clt slab 5-plu internal finish
INTERMEDIATE FLOOR /
Detail A
Detail B
1. 2. 2. 3. 4. 5. 6. 7. 8.
vinyl flooring plywood sheating metal pedastals underfloor heating service gap clt slabs 5-ply glulam beams callulose insulation 150mm internal finish
WALL BUILD UP / 1. 2. 3. 4. 5. 6. 7. 8. 9.
plywood sheating 22mm cellulose insulation 250mm gypsum board 25mm glulam beams weatherproof layer damp proof layer air cavity bendheim wall systems coloured glass
OR 8. steel rainscreen system 9. sandstone tile rainscreen Detail C WINDOW / 1. aluminium window frame 2. triple glazed windows GROUND FLOOR / 1. Vinyl flooring 2. plywood sheating 22mm 3. metal pedastals 4. underfloor heating 5. service gap 6. screed 150mm 7. cellulose insulation 8. damp proof membrane 9. concrete 10. concrete piles
Detail B
Detail C
STUDIO 3.2 / Jana Senberga
24
50mm 2020/21 Dark Walnut Wood
LED light handrail
Aluminium profile
‘Th e H and sha ke’ ’
Plastic cover
Aluminium intermediate handrail bracket
Light underneath the handrail creates a visual path of direction
LED light strip
STUDIO 3.2 / Jana Senberga
assembly 25
2020/21
‘The Handshake’
‘The door handle is the handshake of the building. the tactile sense connects us with time and tradition: through impressions of touch we shake the hands of countless generations.’ (Pallasmaa, 1996: 62)
STUDIO 3.2 / Jana Senberga
26
2020/21
1:50 corner model
Initial exploration of the corner model with 3D modelling software.
STUDIO 3.2 / Jana Senberga
27
2020/21
1:50 corner model / exterior atmosphere
The corner model was made to physically recreate the atmosphere that the building would convey. The open gallery walk can visibly decrease the sizing of the building because of its glass envelope and allows plenty of the views to the inside where the artwork would be placed.
STUDIO 3.2 / Jana Senberga
28
2020/21
1:50 corner model / interior atmosphere
The atmosphere inside largerly depends on the exposed woood of the columns, therefore creating a feeling of a walk outside, rather inside. Moreover, the large open area allows plenty of light, thus creating an inviting feeling.
STUDIO 3.2 / Jana Senberga
29
2020/21
landscape strategy
Pedestrian street seperation in Bradford center - Hustlergate
Pavement types around the site
By walking through the Bradford centre, it can be seen that pedestrian streets are split into two zones - faster and slower zones next to the shop windows. Because of the gallery walk, the slower zone must be inviting, distinctive to create an understanding of a passer-by. ZONES TO ADDRESS : fast movement zone slow movement zone surrounding pavement
Map showing on-site zones
F A S T
S L O W
STUDIO 3.2 / Jana Senberga
30
2020/21
landscape development FINAL CONCEPT IDEA seating area in the middle of the oval shape with a planter box trees seperating slower and faster movement zones + reduce urban heat island
The Voyageby BCA Landscape, UK
Seperation of the zones with trees and seating area, thus creating a distinction between the slower and the faster zone. In ‘The Voyageby’ precedent, the striped pavement introduces the enterance of the building, which can be used to introduce the enterance of the Gallery and the Assembly offices.
Federal environmental agency, Dessau, Germany
prolonged lines at the entrances to emphasise the access
CONCEPT DEVELOPMENT / Creating distinction between the high traffic area in the Rawson’s square, a transition to the pedestrian street Rawson’s place to the Godwin street, which is a traffic street leading to the Bradford’s pedestrian city central. 1.
1 / Taking a simple site and distinguishing boundaries fro surrounding landscape and the created oval shaped square 2 / Main traffic zones from three sides approaching the site 3 / Main enerances (triangles) and smaller entrances (lines) 2.
3.
4.
STUDIO 3.2 / Jana Senberga
4 / Main slow movdfement zones in red 5 / Posibble stripped pattern for slower zones to blend into the pavement pattern 6 / Slow movement zone and Fast movement zone split by greenery as simillar to The Voyahebye precedent, with circular seating the the accumulating point of the oval. 5.
6.
31
2020/21
landscape plan 1:500
N
STUDIO 3.2 / Jana Senberga
33
2020/21
3.
4. 5. 1.
5. 9.
3. 6.
4. 1. 5.
ground floor plan
10.
11.
2.
1:200 @ A2 8. 1 / reception 2 / lockers 3 / cafe 4 / kitchen 5 / toilets 6 / archives 7 / souvenir shop 8 / storage 9 / service riser 10 / plant room 11 / gallery
9. 7.
N
STUDIO 3.2 / Jana Senberga
34
2020/21
12. 4. 5.
13.
9.
5.
10.
5.
first floor plan 1:200 @ A2
14. 11.
4 / kitchen 5 / toilets 9 / service riser 10 / gallery exhibition hall 11 / gallery 12 / open plan offices 13 / balcony 14 / void
N
STUDIO 3.2 / Jana Senberga
35
2020/21
14.
4. 5.
9.
13.
9.
5.
16. 10.
15.
second floor plan 1:200 @ A2 4 / kitchen 5 / toilets 9 / service riser 10 / studio stage 13 / balcony 14 / open plan offices 15 / rooftop balcony 16 / storage
N
STUDIO 3.2 / Jana Senberga
36
2020/21
4.
17. 9. 5.
13.
9.
5.
4.
8. 16.
third floor plan 1:200 @ A2 4 / kitchen 5 / toilets 8 / storage 9 / service riser 13 / balcony 16 / BCS offices 17 / private work cubicles
N
STUDIO 3.2 / Jana Senberga
37
2020/21
20.
19.
9.
5.
21.
8. 18.
fourth floor plan 1:200 @ A2 5 / toilets 8 / storage 9 / service riser 18 / BSC library 19 / roof terrace 20 / plant room 21 / library archives
N
STUDIO 3.2 / Jana Senberga
38
2020/21
Building section 1:200
10. 9.
11.
7.
6.
5.
8.
4.
3.
1.
2.
SW - NE SECTION OF THE GALLERY / 1 / reception 2 / cafe 3 / lockers 4 / storage 5 / gallery shop 6 / gallery 7 / gallery hall 8 / auditorium 9 / BSC offices 10 / BSC library 11 / roof terrace STUDIO 3.2 / Jana Senberga
39
2020/21
Building sections 1:200
5. 4. 10. 9.
3.
8.
3. 7. 2.
1.
6.
NORTH - WEST OFFICE SECTION / 1 / reception 2 / cafe 3 / open plan offices 4 / private office space 5 / roof terrace 6 / archives 7 / gallery hall 8 / auditorium 9 / BSC offices 10 / BSC library
STUDIO 3.2 / Jana Senberga
40
2020/21
Elevation 1:100
WEST - EAST ELEVATION /
STUDIO 3.2 / Jana Senberga
42
2020/21
Elevation 1:100
SE - NW ELEVATION OF THE GALLERY /
STUDIO 3.2 / Jana Senberga
43