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THD1347 PROFESSIONAL PRACTICE_JOB BOOK

JON EDWIN HIRST


Acknowledgements

Fig. 1: Sainsburys in-store bakery team.

3


Thanks to the Handmade Bakery, Sainsburys in-store bakery & Love Bread School for all their time and support during my observation research. They both have been an inspiration and have helped me unwrapping the problems of packaged bread.

Mr. Jon E. Hirst

ACKNOWLEDGEMENTS

5


Contact Page

7


CONTACT SHEET

PROJECT: THE ARTISAN BAKERY, LEEDS. PROJECT NUMBER: 001

DO NOT REMOVE FROM JOB BOOK

1/2

(CL) CLIENT ROLE:

COMPANY

CLIENT:

ARTISAN LTD ATLAS HOUSE 22 KING STREET LEEDS LS2 2HM UNITED KINGDOM

CLIENT NAME:

MR. LEE WALTER

CONTACT DETAILS: T. + 44 (0) 113 302920 (EXT 1) M. + 44 (0) 7762772842 F. + 44 (0) 113 930201

SITE ADDRESS: THE LIGHT - UNIT 57 THE HEADROW LEEDS WEST YORKSHIRE LS1 8TL UNITED KINGDOM

E. INFO@ARTISANBAKERY.COM

ENQUIRY DATE: 01/12/12

FULL NAME:

AGR ASSOCIATES UNIT 2 MILLWRIGHT 49 BYRON STREET LEEDS LS2 7NA UNITED KINGDOM MR. JOSHUA THOPSON

CONTACT DETAILS:

For the conversion of 3 No. (57, 58 & 59) Retail units (2 Existing Restaurants) into one large retail unit. FURTHER INFOMATION: Planning Application Number: 13/00743/FU

SITE MEETING DATES & IMPORTANT DETAILS:

T. + 44 (0) 113 506008 M. + 44 (0) 7738286219

FURTHER INFOMATION:

F. + 44 (0) 113 982393 E. J.THOPSON@AGR.CO.UK

(PL) PLANNING OFFICE ADRESS:

OFFICER:

LEEDS CITY COUNCIL 5TH FLOOR TORONTO SQUARE INFIRMARY STREET LEEDS LS1 2HJ UNITED KINGDOM MS. JULIE ROBERTS

19 GROVE STREET / MIRFIELD / WF14 0QY / UNITED KINGDOM M. +44 (0) 77627 72824 T. +44 (0) 1924 689647

E. hirstdesigns@me.com ..W. hirstdesigns.blogspot.co.uk

CONTACT DETAILS:

SITE MEETING DATES & IMPORTANT DETAILS:

T. + 44 (0) 113 6827621 M. N/A F. + 44 (0) 113 982393 E. J.ROBERTS@LEEDS.GOV.UK

FURTHER INFOMATION:

☐ WEBSITE ☐ OTHER

INTIAL DISCIPTION OF WORKS:

(SS) STRUCTURAL ENGINEER ADRESS:

☐ RECOMEND ☐ ADVERT


CONTACT SHEET

PROJECT: THE ARTISAN BAKERY, LEEDS. PROJECT NUMBER: 001

DO NOT REMOVE FROM JOB BOOK

2/2

(QS) QUANTITY SURVEYOR ADRESS:

ATLAS SURVEYORS 22 LEE STREET MANCHESTER MA2 2AW UNITED KINGDOM

CONTACT DETAILS:

SITE MEETING DATES & IMPORTANT DETAILS:

T. + 44 (0) 112 897875 M. + 44 (0) 7737878690

FURTHER INFOMATION:

F. + 44 (0) 112 788768 FULL NAME:

MRS. RACHEL RICHARDS

E. R.RICHARDS@ATLAS.CO.UK

M&E CONSULTANT ADRESS:

YNX GROUP 49 CAMBRIDGE STREET LEEDS LS2 9NA UNITED KINGDOM

CONTACT DETAILS:

SITE MEETING DATES & IMPORTANT DETAILS:

T. + 44 (0) 113 304202 M. + 44 (0) 7738343443

FURTHER INFOMATION:

F. + 44 (0) 113 343221 FULL NAME:

MR. KEN DICKENSON

E. K.DICKENSON@YNX.CO.UK

(MC) MAIN CONTRACTOR ADRESS:

DSL CONTRACTORS LTD 34 ROSSINGTON LANE LEEDS LS26 7AZ UNITED KINGDOM

(SC) SUB CONTRACTOR CONTACT DETAILS: T. + 44 (0) 113 2232142 M. + 44 (0) 7733322344 F.

OFFICER:

MR. ALAN SMITH

ADRESS:

DLA CONTRACTORS LTD 34 WELLHOUSE LANE LEEDS LS86 7AZ UNITED KINGDOM

+ 44 (0) 113 233211

E. J.ROBERTS@LEEDS.GOV.UK

CONTACT DETAILS: T. + 44 (0) 113 907896 M. + 44 (0) 7762772834 F.

OFFICER:

MR. RICHARD BEDFORD

+ 44 (0) 113 889987

E. R.BEDFORD@DLA.GOV.UK

9


Contents

11


STUDIO PROJECT THD 1347 PROFESSIONAL PRACTICE _ JOB BOOK

DESIGN BRIEF 28 30 32 34

Defining the problem

WHAT THE DESIGN PROBLEM IS AND WHY IT EXISTS

Contextual backgound

HOW DOES THE DESIGN ADD VALUE TO THE WORLD

The brief

STRATEGIC DIRECTION

Design concept

DESIGN DECISIONS

SPATIAL APPRAISAL 41 43 47 55 59 61 67 71

Introduction

THE NATURE OF PROJECT

Location context

GENERAL LOCATION

Specific site context

HISTORICAL BACKGROUND

Structural analysis STRUCTURAL GRID

Component analysis

SECTIONS / DETAILS

Environmental analysis

DAYLIGHTING STUDY

Experiental response

INTERIOR CHARACTERISTICS

Summary

SITE ANALYSIS

13


STUDIO PROJECT THD 1347 PROFESSIONAL PRACTICE _ JOB BOOK

RESEARCH CONTEXT 77 97 100 104 107

Precedent studies

CUTTING EDGE BAKERY DESIGN

Concept board

VISUAL STATEMENT

Language statement

DESIGN LANGUAGE

Identifying the audience

DEMOGRAPHIC INFORMATION

Brand analysis

BRAND VALUES

DESIGN DEVELOPMENT 111 120 168 172 179

Design development

KEY SHEET, KEY INVESTIGATIONS

Concept scheme

PRESENTATION

Planning application

CITY OF LEEDS PLANNING AND BUILDING REGS

Access statement

REPORT

Trend report

MATERIALITY & EXPRESSION

15


STUDIO PROJECT THD 1347 PROFESSIONAL PRACTICE _ JOB BOOK

PROJECT ADMINISTRATION 193 200 202

Working drawings

TECHNICAL DRAWING PACKAGE

Schedule & Specification

SCHEDULES OF WORK

Scope of work

INCL. FEE PROPOSAL

205

Architects instruction

208

Snagging list

210

Tender documentation

INTRIM & COMPLETION CERTIFICATES SCHEDULES TENDERING

MISCELLANEOUS 05

Acknowledgements

07

Contact details

19

List of Illustrations

231

References

215

Bibliography

17


List of Illustrations

19


1

2

4

3

Figure 1

Figure 8

Authors own image. (2012) Sainsburys in-store bakery team.

Authors own image. (2012) Sketch model inspired by artisan bread.

Figure 15 on: Yorkshire Magazine (2011) Leeds windmills [online image] Available at: <http://www.on-magazine. co.uk/2012/11/guide-to-leeds/

Figure 22 Authors own image. (2012) Site Image.

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[Accessed 20 November 2012].

Figure 2 Mike Nowill (2012) Yorkshire Leaven [online image] Available at: <http://sourdough.com/bread/bakery/Yorkshire%20Leaven%20loaf. JPG?1279701569>

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Figure 3 Authors own image. (2012) Sainsburys Front stall displaying Warburtons packaged bread. (Huddersfield)

Figure 4 Authors own image. (2012) Sainsburys In-store bakery featuring the Tiger / Giraffe bread (Huddersfield)

Figure 10 Topmba Admin (2011) Leeds Town Hall [online image] Available at: <http://www.topmba.com/sites/ default/files/institution/images/ mbaschoolprofile_topmba_comuploads-gallery-88-town_hall_at_ night_leeds_jpg.JPG?1343388187> [Accessed 20 November 2012].

Figure 11 Leeds Marketing, et al. (2012)A style guide to Leeds LIVE IT, LOVE IT. Map of the United Kingdom, showing motoway connections.

Figure 17 Authors own image. (2012) Panorama Street View of The Light, located on the Headrow, Leeds.

Figure 18 Authors own image. (2012) Indicatiation of premises.

[Accessed: 20th December 2012]. Pg. 129 (Scanned from publication)

Figure 5 Authors own image. (2012) Sainsburys More brands of packed bread sold by separately by size and type. (Huddersfield)

Figure 6 purplelily (2011) The Helimatic Cooler[online image] Available at: <http://www.flickr.com/photos/ pearlie/450314012/> [Accessed 20 November 2012].

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Figure 12 Leeds Marketing, et al. (2012)A style guide to Leeds LIVE IT, LOVE IT. Regional map. [Accessed: 20th December 2012]. Pg. 129 (Scanned from publication)

Figure 13 Leeds Marketing, et al. (2012)A style guide to Leeds LIVE IT, LOVE IT. District map.

Figure 19 Mulberry store location map [online image] Available at: <http://www. mulberry.com/#/storelocator/europe/ unitedkingdom/leeds/63/> [Accessed 21 Novemeber 2012].

Figure 20 Authors own image. (2012) Leeds Town Hall & City Art Gallery.

Figure 23 Leeds City Planning Portal (2012) DLG Architects north elevation. [online image] Available at: <https:// publicaccess.leeds.gov.uk/onlineapplications/applicationDetails.do?a ctiveTab=documents&keyVal=ME7F Z5JB0QU00> [Accessed 19 November 2012].

Figure 24 Leeds City Planning Portal (2012) DLG Architects south elevation. [online image] Available at: <https:// publicaccess.leeds.gov.uk/onlineapplications/applicationDetails.do?a ctiveTab=documents&keyVal=ME7F Z5JB0QU00> [Accessed 19 November 2012].

Figure 21

Leeds Museums (2011) Letterhead for The United Yeast Company Ltd [online image] Available at: < http://www.flickr.com/photos/leedsmuseumsandgalleries/5071399408/>

Leeds City Planning Portal (2012) Site location map. [online image] Available at: <https://publicaccess. leeds.gov.uk/online-applications/applicationDetails.do?activeTab=docu ments&keyVal=ME7FZ5JB0QU00>

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Figure 25 Leeds City Planning Portal (2012) DLG Architects existing ground floor plan. [online image] Available at: <https://publicaccess.leeds.gov.uk/ online-applications/applicationDetails.do?activeTab=documents&keyV al=ME7FZ5JB0QU00> [Accessed 19 November 2012].

D

Figure 26 Leeds City Planning Portal (2012) DLG Architects existing first floor plan. [online image] Available at: <https://publicaccess.leeds.gov.uk/ online-applications/applicationDetails.do?activeTab=documents&keyV al=ME7FZ5JB0QU00> [Accessed 19 November 2012].

E

Figure 27 Authors own image. (2012) Architectural model of the site. Viewing first floor.

[Accessed: 20th December 2012] Pg. 129 (Scanned from publication)

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Figure 28 Authors own image. (2012) Redrawn architects ff plan and highlighting internal modifications.

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Authors own image. (2012) Redrawn architects gf plan and highlighting internal modifications.

F. D.K. Ching, et al. (2001) Building Construction Illustrated 3rd ed. Steel beam connections. John Wiley & Sons, inc. New York.

ENVIROMENTAL ANALYSIS

Figure 30

Figure 37 Authors own image. (2012) steel junctions

Authors own image. (2012) Architectural model of the site. Viewing building facade.

Figure 31

Figure 38

Authors own image. (2012) Architectural model of the site. Architectural model of site. Viewing ground floor.

Authors own image. (2012) Model visualising the morning daylight direction.

Figure 32

Figure 39

Authors own image. (2012) Structural junctions

Authors own image. (2012) Model visualising the afternoon daylight direction.

Figure 33

Figure 40

Authors own image. (2012) Structural grid indicating junctions.

Authors own image. (2012) Model visualising the evening daylight direction.

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44

Figure 44

Authors own image. (2012) Panoramic view of first floor interior. Itâ&#x20AC;&#x2122;s currently occupied by a pop up shop called the stalls.

Figure 51 Authors own image. (2012) lighting pelmet in the pop up shop.

B

Figure 45 Authors own image. (2012) Shop fronts exterior.

Figure 52 Authors own image. (2012) Existing columns in the interior.

C

Figure 46 Authors own image. (2012) Shop view into No. 57 currently occupied by Greggs.

Figure 53 Authors own image. (2012) Shop counter.

D

Figure 47 Authors own image. (2012) View in to No. 58 currently occupied by Starbucks Coffee.

Figure 54 Authors own image. (2012) View into staff room.

E

Figure 48 Authors own image. (2012) View in to No. 59 currently occupied by Barburrito.

Figure 55 Authors own image. (2012) Princes exchange, Leeds.

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43

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21


2

1 Figure 57

3 Figure 64

studioprototype (2011) building faรงade [online image] Available at: < http://www.studioprototype.com/ projects/elektra-bakery/>

March Studio (2011) Bakery Interior [online image] Available at: <http://marchstudio.com. au/#architecture?id=1644>

[Accessed 18 November 2012].

[Accessed 22 November 2012].

Figure 58

Figure 65

4 Figure 71 Mima Design (2011) Counter [online image] Available at:< http://www. mima.com.au/Becasse-Bakery>

Figure 78 Authors own image. (2012) Cafe area

A

[Accessed 23 November 2012].

Figure 72

studioprototype (2011) Bi-fold windows [online image] Available at: < http://www.studioprototype.com/ projects/elektra-bakery/>

March Studio (2011) Bakery Interior [online image] Available at: <http://marchstudio.com. au/#architecture?id=1644>

Mima Design (2011) Counter showcasing baker products. [online image] Available at:< http://www. mima.com.au/Becasse-Bakery>

[Accessed 18 November 2012].

[Accessed 22 November 2012].

[Accessed 23 November 2012].

Figure 79 M. Nowillow (2011) Blackbaord infomation [online image] Available at:<http://www.mikenowillphotography.co.uk/blog/commercialassignments/the-hand-made-bakeryslaithwaite/>

B

[Accessed 23 November 2012].

Figure 59

Figure 66

Figure 73

studioprototype (2011) Bakery interior [online image] Available at: < http://www.studioprototype.com/ projects/elektra-bakery/>

March Studio (2011) Adjustable bread rack. [online image] Available at: <http://marchstudio.com. au/#architecture?id=1644>

Mima Design (2011) Viewing window. [online image] Available at:< http://www.mima.com.au/BecasseBakery>

[Accessed 18 November 2012].

[Accessed 22 November 2012].

[Accessed 23 November 2012].

Figure 60 studioprototype (2011) External elevation. [online image] Available at: < http://www.studioprototype.com/ projects/elektra-bakery/> [Accessed 18 November 2012].

Figure 61 studioprototype (2011) Floor Plan. [online image] Available at: < http://www.studioprototype.com/ projects/elektra-bakery/> [Accessed 18 November 2012].

Figure 62 studioprototype (2011) Tom Dixon Lighting. Inspired by brass cooking pots. [online image] Available at: < http://www.studioprototype.com/ projects/elektra-bakery/>

Figure 67 March Studio (2011) bread shelfs [online image] Available at:<http://marchstudio.com. au/#architecture?id=1644> [Accessed 22 November 2012].

Figure 68 March Studio (2011) Floor Plan [online image] Available at:<http://marchstudio.com. au/#architecture?id=1644>

Figure 74 J. Ransley (2011)Yorkshire Leaven [online image] Available at:< http:// joanransley.blogspot.co.uk/2012/11/ diary-of-yorkshire-leaven-sourdough.html>

Figure 80 M. Nowillow (2011) Bread moulding [online image] Available at:<http:// www.mikenowillphotography.co.uk/ blog/commercial-assignments/thehand-made-bakery-slaithwaite/>

C

[Accessed 23 November 2012].

Figure 81 Authors own image. (2012) Fresh bread. Panoramic view of the handmade bakery.

D

[Accessed 23 November 2012].

Figure 75 Authors own image. (2012) Fresh bread.

Figure 82 Authors own image. (2012) Fresh bread. Scent the fresh smell of bread on the canal banks.

E

[Accessed 22 November 2012].

Figure 69 March Studio (2011) Isometric drawing [online image] Available at:<http://marchstudio.com. au/#architecture?id=1644> [Accessed 22 November 2012].

Figure 76 M. Nowillow (2011) Fresh every day [online image] Available at:<http:// www.mikenowillphotography.co.uk/ blog/commercial-assignments/thehand-made-bakery-slaithwaite/>

Figure 83 Handmade bakery (2011) Architects impression of the bakery.w [online image] Available at:<http://www. thehandmadebakery.coop/blog>

F

[Accessed 23 November 2012].

[Accessed 18 November 2012].

Figure 63

22

Figure 70

March Studio (2011) Bakery Shop Front [online image] Available at: <http://marchstudio.com. au/#architecture?id=1644>

March Studio (2011) Ceiling close up [online image] Available at:<http://marchstudio.com. au/#architecture?id=1644>

[Accessed 22 November 2012].

[Accessed 22 November 2012].

Figure 77 Authors own image. (2012) Counter

Figure 84 Handmade bakery (2011) Architects impression of the bakery.. [online image] Available at:<http://www. thehandmadebakery.coop/blog> [Accessed 23 November 2012].

G


2

1 Figure 85 Authors own image. (2013) Bakeryâ&#x20AC;&#x2122;s shop front at Reginbrot.

3 Figure 92 Authors own image. (2013) Bread in diffrent langauges

4 Figure 99 Authors own image. (2013) Intertwinded model.

Figure 106 Bourke Street Bakery (2012) Girl. [online image] Available at:<http:// www.bourkestreetbakery.com.au/ About.html>

A

[Accessed 8 January 2013].

Figure 86 Authors own image. (2013) Family attacted by the shop front

Figure 93 Authors own image. (2013) Connecting customers

Figure 100 Authors own image. (2013) Sculpted model.

Figure 107 jujichews (2011) Young audience at a the bakery. [online image] Available at: <http://jujichews.files.wordpress. com/2011/11/bourke-street-bakery-3.jpg>

B

[Accessed 23 November 2012].

Figure 87 Authors own image. (2013) A child staring.

Figure 94 Authors own image. (2013) Through the main doors

Figure 101 Authors own image. (2013) Rising model.

Figure 108 Authors own image. (2012) Audience participant.

C

Figure 88 Authors own image. (2013) A young audience walking into the main entrance.

Figure 89 Authors own image. (2013) Flour in the grinding.

Figure 95 Authors own image. (2013) Preservatives

Figure 102 Authors own image. (2012) Language statement.

Figure 109 Authors own image. (2012) Audience participant.

D

Figure 96 Authors own image. (2013) Coffee and bread counter.

Figure 103 Authors own image. (2012) Language statement.

Figure 110 Bourke Street Bakery (2012) Bakers outside an Australian bakery. [online image] Available at: <http://www. bourkestreetbakery.com.au>

E

[Accessed 8 January 2013].

Figure 90 Authors own image. (2013) Hungry customers queuing in the shop.

Figure 97 Authors own image. (2013) Concept board.

Figure 104 Authors own image. (2012) The crust

Figure 111 Authors own image. (2012) Audience participant.

F

Figure 91 Authors own image. (2013) Bakery shop front at Pano

Figure 98 Chris. Young, et al. (2011) Knead To Know 2nd ed. The real bread campaign. [Accessed 4th December 2012]. Pg. 02 (Electronic Book)

LIST OF ILLUSTRATIONS

Figure 105 Authors own image. (2012) Counter

Figure 112 Authors own image. (2012) Audience participant.

G

23


1

2 Figure 113 Authors own image. (2012) Audience participant.

Figure 114 Identity Designed (2012) Marketing material from Baker D. Chirico. [online image] Available at: <http:// identitydesigned.com/images/ fabio-ongarato/baker-d-chiricoidentity-02.jpg>

3 Figure 120 Authors own image. (2013) Development sheet showing space circulation around the mixing and baking zone.

Figure 121 Authors own image. (2013) Development sheet showing the planning of the space.

4 Figure 127 Authors own image. (2013) Planning Application.

Figure 134 Authors own image. (2012) The Light Car Park.

A

Figure 128 Authors own image. (2013) Planning Application.

Figure 135 Authors own image. (2012) First Floor Entrance.

B

[Accessed 10 January 2013].

Figure 115 Joseph (2012) Bread [online image] Available at: <http://www.joseph. co.at>

Figure 122 Authors own image. (2013) Development sheet showing the planning of the first floor space.

Figure 129 Authors own image. (2013) Planning Application.

Figure 136 Authors own image. (2012) The Headrow overlooking the three occupied units (57, 58 & 59)

[Accessed 10 January 2013].

Figure 116 Authors own image. (2013) Handmade bakery bread.

Figure 117 Authors own image. (2013) Logo option one.

Figure 118 Authors own image. (2013) Logo option two.

Figure 123 Authors own image. (2013) Spatial Planning for seating booths situated on the ground floor.

Figure 124 Authors own image. (2013) Planning Application.

Figure 125 Authors own image. (2013) Planning Application.

Figure 130 Authors own image. (2013) Planning Application.

Figure 131 Authors own image. (2013) Planning Application.

Figure 132 Authors own image. (2013) Planning Application.

C

Figure 137 Authors own image. (2012) Ground Flood Plan (Red Arrows indicate exits)

D

Figure 138 Authors own image. (2012) First Floor Plan (Red Arrows indicate exits)

E

Figure 139 Studio Rygalik’s (2011) Studio Rygalik’s ‘Baguette Table’ [online image] Available at: <http://inhabitat.com/ studio-rygaliks-baguette-table-usesold-bread-to-raise-awareness-aboutfood-waste/>

F

[Accessed 20 March 2013].

Figure 119 Authors own image. (2013) Logo option three.

Figure 126 Authors own image. (2013) Planning Application.

Figure 133 Authors own image. (2012) Goods Entrance.

Figure 140 Decorunest (2013) Verre Eglomise (Wall Cladding) [online image] Available at: http://decorumest.co.uk/ products-2/eglomise/ [Accessed 20 March 2013].

24

G


1

2 Figure 141 Decorunest (2013) Mirror titles inset with geometric shape [online image] Available at: <http://decorumest. co.uk/products-2/eglomise/> [Accessed 20 March 2013].

Figure 142 Decorunest (2013) Mirror titles inset with geometric shape [online image] Available at: <http://decorumest. co.uk/products-2/eglomise/> [Accessed 20 March 2013].

Figure 143 Decorunest (2013) Contempoary hexagon shaped mirror [online image] Available at: <http://decorumest. co.uk/products-2/eglomise/> [Accessed 20 March 2013].

3 Figure 148

4 Figure 155

luminoso (2013) Close up. [online image] Available at: <http://www. luminoso.at>

3D Surface (2013) Cladding [online image] Available at: <http:// www.3dsurface.it/en/>

[Accessed 20 March 2013].

[Accessed 20 March 2013].

Figure 149

Figure 156

luminoso (2013) Columns. [online image] Available at: <http://www. luminoso.at>

3D Surface (2013) Cladding [online image] Available at: <http:// www.3dsurface.it/en/>

[Accessed 20 March 2013].

[Accessed 20 March 2013].

Figure 150

Figure 157

luminoso. (2013) Wood Species [online image] Available at: <http:// www.luminoso.at>

Andy Thornton (2013) [online image] <http://www.andythornton. com/en-UK/products/architecturalantiques/seating/atvmsei0536/plystacking-chair>

[Accessed 20 March 2013].

[Accessed 20 March 2013].

Figure 144 Decorunest (2013) Distressed differential. [online image] Available at: <http://decorumest.co.uk/products-2/eglomise/> [Accessed 20 March 2013].

Figure 145

Figure 151 3D Surface (2013) Cladding [online image] Available at: <http:// www.3dsurface.it/en/> [Accessed 20 March 2013].

Figure 152

luminoso (2013) When not lit. [online image] Available at: <http:// www.luminoso.at/>

3D Surface (2013) Cladding [online image] Available at: <http:// www.3dsurface.it/en/>

[Accessed 20 March 2013].

[Accessed 20 March 2013].

Figure 146

Figure 153

luminoso (2013) Lit . [online image] Available at: <http://www.luminoso. at/>

3D Surface (2013) Cladding [online image] Available at: <http:// www.3dsurface.it/en/>

[Accessed 20 March 2013].

[Accessed 20 March 2013].

Figure 147

Figure 154

luminoso (2013) Luminated surface. [online image] Available at: <http:// www.luminoso.at>

3D Surface (2013) Cladding [online image] Available at: <http:// www.3dsurface.it/en/>

[Accessed 20 March 2013].

[Accessed 20 March 2013].

LIST OF ILLUSTRATIONS

Figure 158

Figure 162 Love Letter To Plywood (2012) [online image] Available at: <http://www.youtube.com/ watch?v=pVxldyIa0Bg> [Accessed 20 March 2013].

Figure 163 Love Letter To Plywood (2012) [online image] Available at: <http://www.youtube.com/ watch?v=pVxldyIa0Bg>

Figure 164 Love Letter To Plywood (2012) [online image] Available at: <http://www.youtube.com/ watch?v=pVxldyIa0Bg>

C

[Accessed 20 March 2013].

Figure 165 Love Letter To Plywood (2012) [online image] Available at: <http://www.youtube.com/ watch?v=pVxldyIa0Bg>

[Accessed 20 March 2013].

[Accessed 20 March 2013].

Figure 159

B

[Accessed 20 March 2013].

Gypsy Made (2013) [online image] <http://www.gypsymade. com/2011/08/i-heart-martinogamper-pt-2.html>

Authors own image. (2013) Staircase

A

D

Figure 166 Love Letter To Plywood (2012) [online image] Available at: <http://www.youtube.com/ watch?v=pVxldyIa0Bg>

E

[Accessed 20 March 2013].

Figure 160 Authors own image. (2013) Staircase

Figure 167 Love Letter To Plywood (2012) [online image] Available at: <http://www.youtube.com/ watch?v=pVxldyIa0Bg>

F

[Accessed 20 March 2013].

Figure 161

Figure 168

Authors own image. (2013) Staircase

Authors own image. (2013) Staircase

G

25


1

2

3

Figure 169

Figure 176

Authors own image. (2013) Staircase

Figure 183

Hirst Designs 282a Molyneux Pl W1H 5HS London

ID (2012) Luminated surface. [online image] Available at: <http://identitydesigned.com/baker-d-chirico/>

Hirst Designs 19 Grove Street Leeds LS11 9AX

001

DSL Contactors Ltd 34 Rossington Lane Leeds LS26 7AZ

14 JUNE 13

Authors own image. (2013) Partial Completion.

01

The Light Unit 57 The Headrow Leeds LS1 8TZ 09/01/13

[Accessed 20 March 2013].

A

I hereby state that a part of the kitchen and retail areas are open for business.

Wednesday 12th June 20 13

Figure 170

Figure 177

Tom Dixon (2013) Mirror titles inset with geometric shape [online image] Available at: <http://manmakehome.files.wordpress.com/2009/01/ dixon-1.jpg>

Daniel Libeskind (2013) IWM Manchester. [online image] Available at: <http://www10.aeccafe.com/ blogs/arch-showcase/files/2011/03/ covington-sketch-cStudio-DanielLibeskind-150x150.jpg>

[Accessed 20 March 2013].

[Accessed 20 March 2013].

Figure 171

Figure 178

Oulce (2013) Ceiling Light [online image] Available at: <http://www. oluce.com/en/lamps/wall-ceiling/>

J. Loyd. (2012) Abundance Project: A table in Situ [online image] Available at: <http://jaylloyd.files.wordpress. com/2008/01/table_layout.jpg>

[Accessed 20 March 2013].

Figure 184

Hirst Designs 282a Molyneux Pl W1H 5HS London Hirst Designs 19 Grove Street Leeds LS11 9AX

001

DSL Contactors Ltd 34 Rossington Lane Leeds LS26 7AZ

09 JULY 13

Authors own image. (2013) Practical Completion.

01

The Light Unit 57 The Headrow Leeds LS1 8TZ

B

09/01/13

5

SNAGGING  LIST   Friday 5th July 2013

Project: Site Date:

Artisan Bakery Job Ref: 001 11-Jul-13

Issued to: Produced By:

A. Smith JH/001

The following items were noted at a site meeting as dated. On behalf of our client we would recommend the items list to rectified.

ITEM 1

Authors own image. (2013) Planning Completed Application. 07.04.13

Action By

TO AREAS:

(Intial)

NO:

Figure 185

GROUND FLOOR

ITEM DESCRIPTION GF - ESPRESSO BAR Faulty valve on fitted on SS sink. Replacement

Date to be

AS

to be delived to site. (14-Jul-13) 2

C

GF - COUNTER Damaged end panel on counter LHS

AS

TBC

AS

09.04.13

AS

10.04.13

A.AS Smith JH/002

09.04.13

Replacement TBC

[Accessed 20 March 2013].

3

GF - STORE ROOM

SNAGGING  LIST   Faulty GU10 fitting above island to be ivestigated by electrican.

4

GF - STAIRCASE (TREADS 6 & 7)

Slippery Tread - Requires extra coating. 5

Figure 172

Figure 179

Hirst Designs 282a Molyneux Pl W1H 5HS London Hirst Designs 19 Grove Street Leeds LS11 9AX

Oulce (2013) Wall Light [online image] Available at: <http://www.oluce. com/en/lamps/wall-ceiling/>

001 01

DSL Contactors Ltd 34 Rossington Lane Leeds LS26 7AZ

28 MAY 13 28 MAY 13

The Light Unit 57 The Headrow Leeds LS1 8TZ

£920,000

Project: Site Date:

GF - SEATING AREA 1 (Socket)

Artisan Jobshould Ref: 001 Socket plateBakery incorrect be S.S. matching the 11-Jul-13 rest.

The following items were noted at a site meeting as dated. On behalf of our client we would recommend the items list to rectified.

Authors own image. (2013) Interim Certificate 1.

ITEM

ITEM DESCRIPTION

NO:

TO AREAS:

1

FF - FEMALE WC Faulty foat on fitted cubicle D

09/01/13

[Accessed 20 March 2013].

Date to be

A.S

TBC

A.S

09.04.13

A.S

10.04.13

A.S

09.04.13

Authors own image. (2013) Planning (Intial) Completed Application. A.S 07.04.13

Contractor to signed in acceptance & confirmation.

3

380,000.00

Date:

0.00

1

FF - SHELVING (Unit 1,2 a) Unstable Shelving to be re-fitted

20,000.00

rako lighting system as required by client. 4

THREE HUNDERED AND EIGHTY THOUSAND POUNDS AND ZERO PENCE.

5

20

001 76,000.00 01 456.000.00

DSL Contactors Ltd 34 Rossington Lane Leeds LS26 7AZ

09 JULY 13 09 JULY 13

The Light Unit 57 The Headrow Leeds LS1 8TZ

£920,000

FF - WINDOW WF4 Window doesn’t open freely. Contractor to advise.

Figure 180

Hirst Designs 19 Grove Street Leeds LS11 9AX 20

FF - DOOR DF17 Handle loose

-----------------------------------------------------------------------------------------

Hirst Designs 282a Molyneux Pl W1H 5HS London

D

X

FF - SWITCH GEAR Specialist to added additional settings on

380,000.00

Chris. Young, et al. (2011) Knead To Know 2nd ed. The real bread campaign.

Figure 186

FIRST FLOOR Action By

Check required through bathrooms. 2 400,000.00

Figure 173

Issued to: Produced By:

Authors own image. (2013) Interim Certificate 2.

09/01/13

[Accessed: 20 March 2012]. Pg. 81 (Electronic Book)

E

920,000.00 23,000.00 897,000.00

Contractor to signed in acceptance & confirmation.

X

380,000.00

1

Date:

517,000.00

FIVE HUNDERED AND SEVENTEEN THOUSAND POUNDS AND ZERO PENCE.

-----------------------------------------------------------------------------------------

Figure 174

Figure 181

Hirst Designs 282a Molyneux Pl W1H 5HS London Hirst Designs 19 Grove Street Leeds LS11 9AX

mozzer’s finest (2013) bottles of love [online image] Available at: <http:// www.mozzersfinest.de>

20

001 103,400.00 01 620,400.00 HD02931D

20

DSL Contactors Ltd 34 Rossington Lane Leeds LS26 7AZ The Light Unit 57 The Headrow Leeds LS1 8TZ 15 OCT 13

Authors own image. (2013) Final Certificate.

F

937,000.00 897,000.00

[Accessed 20 March 2013].

40,000.00

FORTY THOUSAND POUNDS AND ZERO PENCE. -------------------------------------------------------------------------------------------

Figure 175

Hirst Designs 282a Molyneux Pl W1H 5HS London Hirst Designs 282a Molyneux Pl W1H 5HS London

ID (2012) Luminated surface. [online image] Available at: <http://identitydesigned.com/baker-d-chirico/>

Figure 182

20 20

001

8,000.00

01

48,000.00

24 MAY 13

20 DSL Contactors Ltd 34 Rossington Lane Leeds LS26 7AZ

1

1

The Light Unit 57 The Headrow Leeds LS1 8TZ

15 APRIL 13

G

COUNTER TOPS

[Accessed 20 March 2013].

26

Authors own image. (2013) Architects Instruction.

1 2

Omit laminated surface to counter tops (SEE GF – DWG NO. 920-191) Add granite surface to counter tops.(BAND C- Regatta Color: White)

2800.00

-4200.00

--

MALE & FEMALE RESTROOMS 3

Omit white floor tiles in both restrooms excluding separate disabled W.C.

4

Add travertine floor tiles in both restrooms. Type: X1 by TC Tiles.

--

3000.00 --

5000.00

5,800.00

9,200.00

920,000.00 -3400.00 916,600.00 X X


Design Brief

Fig. 2: Handcrafted bread from the handmade bakery.

27


Defining the problem

28


S

hould we be proud of the bread we produce in Britain? As A. Whitley points out ‘‘We produce some of the least expensive bread in Europe. But the result? Our consumption is one of the lowest in Europe’’ (Whitley, 2009, p.7). These are astonishing statistics and show what the rest of Europe are enjoying whilst we Brits are missing out on good fresh bread. It is a frightening situation for the remaining number of independent bakers whose futures are dictated by the commercial baker. The people of Britain need to change their ways and believe that the extra credit is far better value and knowing it has been individually crafted for you. A honest bakery will only use the staple ingredients of bread making and she/ he will assure you its better for your body to digest and will keep fresher for longer periods of time. The accessibility of good bread is one of the issues we find in todays society and the majority of those lovingly artisan bakers outside the capital are situated in hearts of small communities. For those people living in an urban environment a city bakery is needed.

DEFINING THE PROBLEM

}

FLOUR WAITER SALT YEAST FAT FLOUR TREATMENT AGENT BLEACH REDUCING AGENT SOYA FLOUR EMULSIFIERS EMULSIFIERS GLYCEROL LECITHINS PRESERVATIVES CALIUM PROPIONATE ACETIC ACID ENZYMES GLU COAMYLASE MALTOGENIC AMYLASE BACILLUS STEAROTHERMOPHILUS OXIDASE LIPOXYGENASE PROTEASE PEPTIDASE TRANSGLUTAMINASE LIPASE PHOSPHOLIOPASE HEMICELLULASE XYLANASE

I know that ‘‘man canot live on bread alone’’. I say, let us get the bread right. David Scott. Selected Poems

(Scott,1998, p.31).

CALIUM PROPIONATE ACETIC ACID ENZYMES GLU COAMYLASE MALTOGENIC AMYLASE BACILLUS STEAROTHERMOPHILUS OXIDASE LIPOXYGENASE FLOUR WAITER SALT YEAST FAT FLOUR TREATMENT AGENT BLEACH REDUCING AGENT SOYA FLOUR EMULSIFIERS EMULSIFIERS GLYCEROL LECITHINS PRESERVATIVES PROTEASE PEPTIDASE TRANSGLUTAMINASE LIPASE PHOSPHOLIOPASE HEMICELLULASE XYLANASE

29


Contextual Background

30


Unwrapping the problems   of packaged bread.

Fig. 3: Front stall displaying Warburtons packaged bread.

The Choreleywood bread process revolutionized the way bread was made in Britain, and now more than 80% of all loaves in the country are made that way. (Whitmire, 2011)

A very British loaf affair.

What’s the problem with the bread we are all used to?

read is a simple recipe, which consists B of flour, water, salt and yeast. The British campaign states today around 80%

of our bread is controlled by a small number of companies. (Real Bread Camaign, 2011) It’s hard to imagine how bread can be produced so white and in my own opinion it doesn’t taste good. The flavour is missing and that’s why modern industrial bread is produced too fast and is completed within one hour. Bread is a slow process and when it is manipulated it prevents the flavour or beneficial lactic bacteria to develop. Over the year’s bread scientists have developed ways to produce bread with additives that contribute towards the speeding process. Stated by the (Handmade Bakery, 2009) to name a few: bleach, fats, flour treatments, emulsifiers, reducing agent and an endless list of enzymes. Strikingly enzymes by law do not need to be listed on the label and some breads use phospholipase which derives from the pancreas of pigs. According to (Whitley, 2009, p.3). statics show Britons consume about twelve million loaves a day.

CONTEXTUAL BACKGROUND

Fig. 4: In-store bakery featuring the Tiger bread (Giraffe)

The nation needs to know there is more than just a white loaf and the people of Britain need to learn about the real bread. The lack of nutrition is lost through modern milling machinery and lot of the grain is separated out of wheat. Today’s society needs to be well informed about the choices which bread plays in a balanced diet. Britain needs to be encouraged to eat more locally produced bread. Bread is a staple food and has a long history, which goes back at least dawn of civilisation it is known to man as one of the oldest recipes of mankind. English bread was commonly made of mixed grains until well into the Victorian age and the flour was stone milled by windmills and water wheels, the problem with the whole meal bread that most people ate, was that it wasn’t very refined flour and contained lots of heavy bran, cornstalks and grit. Soft white bread was produced exclusively for the well off but, that all changed in the 1870s with a Swiss invention ‘roller-milling’ that worked like clockwork separating the grain out of the different parts and making a much finer flour. White bread could now be affordable by anyone and brought together an age when the artisan baker was born.

Fig. 5: More brands of packed bread sold by separately by size and type.

‘A technological triumph factory bread may be. Taste it has none. Should it be called bread?’

Elizabeth David, English bread and yeast cookery (Allen Lane, 1977)

In the 1960s bread scientists discovered the ‘Chorleywood Process’ as industrial bakeries adopted this process, it ended up helping to put thousands of small bakers out of business. It worked by adding more yeast to the dough and mixing them at high speeds which shrank the process of fermenting from three hours to just one.

(David E, 2009, p.1).

By the 1900s about five percent of the British population were still eating whole meal bread, it was now more expensive than white. One of the problems with white bread was that it wasn’t good for you and during the 1930s the government wanted to try to get the nation to switch back to whole meal bread. During the Second World War wheat imports were crippled by U-boat attacks. There was a wheat shortage so; to make flour stretch further all the grain had to be used in the bread. The government banned white and introduced the whole meal national loaf. When the national loaf was abolished in 1956 the demand for white bread was higher than ever and to satisfy the demands big businesses took over from the local bakers.

Fig. 6: The Helimatic Cooler.

31


The Brief

32


There is exceptional bread in Britain

,;LE?NCHA

- but it isnâ&#x20AC;&#x2122;t celebrated! The days when fresh artisan bread came hand-sculptured have long disappeared. 6R\RXÂśUHEDNLQJWKHEHVW5HDO%UHDGWKDW\RXFDQEDNHULJKW"6HOOLQJKRQHVWORDYHVD Britain will learn about the real bread!

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T

6B;NCMG;LE?NCHA The bakery will be situated on the he design brief un:HPDGHDSRLQWRIQRWSD\LQ

ground floor where its audience dertakes a concept WKDQIRUSULQWLQJRIĂ \HUV)U 0DUNHWLQJLVPRUHWKDQMXVWDGYHUWLVLQJ,WÂśVDSURFHVVWKDW will be able to spectate from the which will underline IRUWXQDWH WR KDYH GHVLJQ DQ VWDUWV RUDWOHDVWVKRXOG LQWKHYHU\HDUO\VWDJHVRISODQQLQJ first floor. There will be designatthe importance of KRXVH VR ZH GR DOO RXU RZQ \RXU5HDO%UHDGEDNHU\RUDQ\FKDQJHVWRZKDW\RXPDNH D ELJ HIIRUW KRZHYH DQGVHOO6XFFHVVIXOPDUNHWLQJFDQEHVXPPHGXSLQ3V ed seating areas for :H its PDGH customartisan bread and IURPWKHVWDUW$WĂ&#x20AC;UVWWKLVZD ers to see the live performance. have an atmosphere WKDW WRRN MXVW D IHZ KRXUV WR z 7KHULJKWSURGXFW The ground floor will compromise which will educate the audience IRU WKH z )RUWKHULJKWSHUVRQ stunning display unitsXVHG which willĂ&#x20AC;UVW HLJKW PRQW and make them appreciate the /LQN IXQGLQJ WR KHOS z ,QWKHULJKWSODFH showcase the bakery%XVLQHVV products. work which goes into bread makEXLOG XV D ZHEVLWH +H XVHG z $WWKHULJKWSULFH ing. Material, form, light and spaFDOOHG'583$/ z :LWKWKHULJKWSURPRWLRQ The creation and kneading of bread tial arrangements will respond to  will echo these processes of materithis process. Honesty and ope2WKHUPDUNHWLQJWRROVZHXVHD als and will enhance the interior with ness will0DUNHWLQJ be the key priority which LVDQHDWDQGFKHDSZD\WRFUHD LV ´WKH KRPHZRUN WKDW PDQDJHUV XQGHUWDNH neutral colour schemes with materiwill allow the customer witness ORRNQLFHO\SURGXFHG WR DVVHVV QHHGV PHDVXUH WKHLU H[WHQW DQG LQWHQVLW\ DQG such as stone, glass and timbers. the whole bread making GHWHUPLQH ZKHWKHUprocess. D SURĂ&#x20AC;WDEOH als RSSRUWXQLW\ H[LVWV  $SDUWIURPWKDWZHGRQ¡WGR 0DUNHWLQJFRQWLQXHVWKURXJKRXWWKHSURGXFW¡VOLIHWU\LQJ WKURXJKZRUGRIPRXWK2XUP WR Ă&#x20AC;QG QHZ FXVWRPHUV E\ LPSURYLQJ SURGXFW DSSHDO DQG 6HWK *RGLQ PDUNHWLQJ JXUX  SHUIRUPDQFH OHDUQLQJ IURP SURGXFW VDOHV UHVXOWV DQG FRZ¡ %\ WKLV KH PHDQV EH UH PDQDJLQJUHSHDWSHUIRUPDQFHÂľ SXVKLQJ ZKDW ZH GR DQG KRZ RXURZQHWKLFDODQGSROLWLFDOD 3KLOLS.RWOHUHWDO3ULQFLSOHVRI0DUNHWLQJ FRPPXQLW\¡V FRQQHFWLRQ ZLWK 3HDUVRQ(GXFDWLRQ EHFDXVHZHUHFRJQLVHWKDWRQO EXLOGLQJRQZKDWZHKDYHGRQH %\GRLQJWKHVHWKLQJVZHKDYH UHJLRQDODQGQDWLRQDOSUHVVUD 'DQ0F7LHUQDQ

Fig. 7: A very British loaf affair.

THE BRIEF

33


Design Concept

34


Fig. 8:

Sketch model inspired by artisan bread.

lovingly A concept driven by

artisan bread The proposed intension of the bakery focuses on the creation of bread making as the centre point of the space. It will allow an insight into the daily operation of the baker. Customers will learn and see the making process. Connectivity between the baker and customer will play a vital role and its surroundings will be honest. The storage room will be transparent and allows the customers to see the products used. Its sacks of flour will be proudly displayed and will be echoed by a rising experience. The spatial surrounding will be influenced by artisan

DESIGN CONCEPT & CONSIDERATIONS

bread and kneading forms. The space intends to be linear and will contrast between strong gradient colours which will be carefully considered to match an unusual baking area. Seating areas will be wrapped around the central feature and interior space, providing a ground-breaking mix of entertainment and tranquility. The dialogue between the bakery and seating areas will continue to innovate and present new experiences (display units, toasting areas, espresso bar)

- Access to all areas, by all, is the most important concern in initial design stages. ------------------------------------------------------------- The use of quality furniture will be carefully considered where its main point of use is. Bar stools, sofas etc. ------------------------------------------------------------- Flooring and seating materials specified ought to have a minimum existence of five years with medium to high wear in most areas. ------------------------------------------------------------- An efficient lighting scheme will be led by requirements in change of mood and atmosphere, but baking areas and restrooms will be lit as per CIBSE guidelines. ------------------------------------------------------------- Specialist to advise on extraction points required throughout the baking zone. ------------------------------------------------------------- As anti-smoking legislation applies smoking is not permitted within the building or seating areas adjoining the shopping mall premises. Some provision is to be made for external smoking ------------------------------------------------------------- Restroom hygiene clean, crisp with hard surfaces to gents and softer finishes to ladies. An ambient disabled toilet will be carefully considered. -------------------------------------------------------------

35


Design Solution

36


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TO CREATE

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Openess, honesty & connectivity.

DI

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A solution to keep 3. $VWDUWLQJSRLQWZKHQORRNLQJLQWRWDNLQJRQVWDIILVWRHQVXUH artisan skills alive. WKDW\RXIXO¿O\RXUOHJDOREOLJDWLRQV$VRXUFHRILQIRUPDWLRQ RQPDWWHUVLQFOXGLQJEHFRPLQJDQHPSOR\HUUHFUXLWLQJDQG PDQDJLQJSHRSOHSD\DQGSHQVLRQVHTXDOLW\DQGGLYHUVLW\

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Fig. 9: Flour hand

DESIGN CONCEPT

37


A UNIQUE BAKERY SITUATED WITHIN THE DEFINED PRIMARY SHOPPING FRONTAGES WITHIN LEEDS’ CITY CENTRE.


Spatial Appraisal

Fig. 10: Leeds Town Hall overlooking traffic from the Headrow.

39


40


introduction

I CAN BUY IN BULK FROM A LARGE OUTSIDE COMPANY OR I CAN SUPPORT PEOPLE IN MY LOCAL AREA AND ENSURE THAT THE MONEY I MAKE GOES BACK INTO THEIR POCKETS

” A style guide to Leeds LIVE IT, LOVE IT 2012 (Haydock S, 2012, p.25).

INTRODUCTION

T

here is only a hand full of truly artisan bakeries in the UK and I want to see bread been baked properly and I want to see them made with love, care and creativity! Leeds is in much need of a bakery and will certainly earn a place in this urban environment.

The space will reconnect its people to its local bakery and rebuild lost artisan skills, after all our hands crave to be used in creative pursuits. The bakery will serve as a community bakery and will offer its clients with an authentic taste of real British bread. Whether they meet in the café, chat over coffee and pastries or take away the food made with love. Leeds has a unique history with some of its windmills still standing proud from the past. Today traditional city bakeries have evolved into large chain bakers and I want to give this bakeries the impression of having always been there.

41


Location Context

43


LEEDS CITY REGION

Fig. 11: Map of the United Kingdom, showing moto-

way connections.

Fig. 12: Regional Map LEEDS METROPOLITAN DISTRICT

SITE LOCATION The city of Leeds is in the heart of West Yorkshire. It also has straight forward access to other major cities such as Manchester and York: through rail links and excellent road links to motorways, such as the M62, M1 and the A1, which brings visitors to the city from across the county.

Fig. 13: District Map

LOCATION CONTEXT


The Bread They All Desire Ask your Grocer for D.C.L YEAST — it’s British and —unquestionably best. — Leeds is not well-known for its wheat production but its forgotten landmarks still remain around the outskirts of the city. There are seven surviving windmills as seen in figure 15 but, sadly none of them in operation. Most of the remaining windmills have been transformed into living accommodation.According to (Holloway, 2012) the first mill was erected at Hillam situated east of the city. It unfortunately no longer stands today. However it is believed that the mill was water-powered, as it was a more reliable source. As (Holloway, 2012) points out during medieval time it is believed that the Knights Templar owned two windmills which one was located at Temple Newsam, along the River Aire. A long history of milling in the area later led to

(The United Yeast Company, n.d.)

the establishment of ‘The United Yeast Company’ 1886 - 1949 according to (Leodis, 2012) the building is shown in figure 16 which used to produce yeast and malt extract for its local bakers and confectioners, which helped the city access both dried

Fig. 14: The United Yeast Company Ltd Advertisement.

and fresh yeast. During the company’s service they promoted their products, which targeted housewives to pride them into bread making. After the Second World War the country had lived on the national loaf for too

long and quickly turned to the mass-produced white loaf, as local bakers could not keep up with the demand required by the nation. This put independent bakers out of business and led to a sad chapter in our history where Leeds no longer serves the bread they desire.

Fig. 15: Remaining windmills in the surrounding area.

Fig. 16: The United Yeast Company - Munro House, 70 Wellington St, Leeds.

45


Specific Site Context

47


Fig. 17:

Panorama Street View of The Light, located on the Headrow, Leeds.

Fig. 18:

Red line indicating premises.

Fig. 19:

SHOT ON LOCATON

w

The proposed site for the bakery is situated on the Headrow, Leeds. It connects two main street junctions leading to the main high street and city station. It stands proudly on a busy pedestrian high street. This street is well known for its nightlife and is an eating hotspot for its city dwellers. As shown in figure 20 the town hall and city gallery helps generate tourism for the area and make it a prime location to have a bakery. After undertaking a pedestrian survey the Headrow is frequently used amongst people who are predominantly among 18 – 60 age range. It has convenient bus connections and targets a wealth mixture and for those who seek a sense of style. Fig. 20:

48

Leeds Town Hall & City Art Gallery.

A map of Leeds city centre. Blue marker showing location of the bakery.

According to (Looking at Buildings, 2012) this Grade II listed building recognized as ‘The Light’ formally known as ‘The Permanent House’ the Headrow is one of Leeds major streets. Sir Reginald Blomfield put together this ambitious scheme in 1924. Works commenced in 1929 and similar examples were found along London Regent Street with identical facades. This building is a fine example of classical architecture and has a distinctive appearance. It is cladded in a red style terracotta brick and is segregated by unique stone pilasters and cornices. Works were completed in the 1960s after the war had halted the construction for several years. It was one of the last examples of quality builds before concrete buildings were introduced.


NORTH

UNIT 20, THE LIGHT

HEADROW

LOCATION PLAN SCALE: 1:1250 @ A3

0

10 20 30 40 50

Fig. 21:

SPECIFIC SITE CONTEXT

100m

Site location map.

49


A UNIQUE VENUE IN THE HEART OF LEEDS

THE LIGHT HEADROW

The building underwent a huge makeover just in time for the millennium and has won eight building awards, which included the best-altered buildings of the year. The new building extension is bridged together with a glass and steel structure and successfully integrates the old and new surrounding a central courtyard. The bakery chain Greggs owns three of its stores on the Headrow and currently occupies No. 57. The design intention is in a bid to win back its lost customers and reunite real bread to the city. The proposed intentions are to merge the three units into a single space, which will connect the first floor by staircase. Both floors can be accessed from within the light shopping mall.

FIRST FLOOR

GROUND FLOOR

Fig. 22:

Site picture.


Fig. 23: Architects Elevations.

SPECIFIC SITE CONTEXT

EXISTING ELEVATION - HEADROW STREET SCALE: 1:100 @ A3

51


Fig. 24: Architects south facing elevation.

EXISTING ELEVATION - MALL SCALE: 1:100 @ A3


NORTH

EXISTING FIRST FLOOR SCALE: 1:1200 @ A3

Fig. 26:

Fig. 25:

Architects existing first floor plan.

Architects existing ground floor plan.

EXISTING GROUND FLOOR SCALE: 1:1200 @ A3

SPECIFIC SITE CONTEXT

53


Fig. 28 Redrawn architects ff

plan and showing internal modifications.

Fig. 30: Architectural model of the site. Viewing the buildings facade.

Fig. 27: Architectural model of the site. Viewing the first floor.

The light features: - 350,000 sq ft (32,515 sq m) Retail & Leisure scheme - 420 space lower level car park - 12 retail units - 14 restaurant / bar units - 13 screen VUE Multiplex cinema - 147 bedroom deluxe Radisson BLU Hotel - 26, 000 sq ft (2, 415 sq m) Virgin Active Health Club

FIRST FLOOR - WORKING LAYOUT SCALE: 1:1200 @ A3

Sourced information: The light corporate booklet.

Fig. 29 Redrawn architects gf

plan and showing internal modifications.

NORTH Fig. 31:

Architectural model of the site. Viewing the ground floor.

GROUND FLOOR - WORKING LAYOUT SCALE: 1:1200 @ A3

SPECIFIC SITE CONTEXT


Structural Analysis

55


Artist Impression: Do Not Scale

Fig. 32: Structural junctions

Steels:

Following a site visit most of the buildings surrounding the light are load bearing masonry and there could be steel columns hidden in the thickenings. This could lead to possibilities of rejunction with the new steels.

* * *

Overhead FloorSteels Steel Beam Support For Staircase Steel Column Supports


Floor alterations may apply during design process for a viewing point.

Fig. 33: Structural grid indicating junctions.

FIRST FLOOR - STRUCTURAL GRID SCALE: 1:100 @ A3

STRUCTURAL ANALYSIS

57


Component Analysis

58


Artist Impression: Do Not Scale

B A

A

Fig. 34:

Framed connection by bolting web of beam to supporting column.

B

Fig. 35: Shear connections.

C

Fig. 36:

Steel column and welded pad. Steel reinforced into concrete floor.

Fig. 37: Steel junctions.

C

CONSTRUCTION JUNCTIONS

COMPONENT ANALYSIS

Steels:

1.

* * *

Overhead Floorsupports. Steel Beam Support For Staircase Steel Column Supports

59


Environmental Analysis

61


“ You need a clean well-lit space. Whatever space you think you need to start with, at least double it as

you’ll generally very quickly find that space becomes an issue. Moving bakery can be a very expensive exercise. Think bigger than you’d think you’d initially need.

(Bendix, 2012, p.70).

Troels Bendix

Knead to know The Real Bread Campaign

ENVIRONMENTAL ANALYSIS


Artist Impression: Do Not Scale Fig. 39:

Model visualising the afternoon daylight direction.

Fig. 38:

Model visualising the morning daylight direction.

3 Hours

12 : 0

0

PM

DATE SET: 17 JANUARY 2013

9 : 0

0

AM

3 Hours

DATE SET: 17 JANUARY 2013

3 : 0

0

PM

DATE SET: 17 JANUARY 2013

DAYLIGHTING STUDY

1. Fig. 40:

Model visualising the evening daylight direction.

ENVIRONMENTAL ANALYSIS

63


Artist Impression: Do Not Scale

SKYLIGHT

*

*

*

*

*

*

*

* *

*

*

*

0

+ 280

LOOR

Fig. 49: Cropped image showing skylight.

*

TF FIRS 0

+ 000

Floor cut out allowing south light to travel downstairs.

*

*

*

*

*

*

* *

* * 00

+ 49

UN

O GR

OR

LO DF

00

+ 00

Windows:

Fig. 41:

Daylight model exploring lighting through building structure.

ENVIRONMENTAL ANALYSIS

* * *

North facing: GF: 7 FF: 5 East facing: GF: 4 FF: 4 South facing: GF: 9 FF: 9


Mall Lift

Access to ground flloor

FF Mall Entrance Fire Exit

Fig. 43:

Plans demonstrating access routes into and out of the building. Plans are redrawn of architects ground floor with internal modifications.

down

Mall Lift

Access to first floor

GF Mall Entrance

FIRST FLOOR - WORKING LAYOUT SCALE: 1:1200 @ A3

Fig. 42:

up

Plans demonstrating access routes into and out of the building. Plans are redrawn of architects first floor with internal modifications.

ACCESS ROUTE

ENVIRONMENTAL ANALYSIS

Staircase

Goods Fire Exit

GROUND FLOOR - WORKING LAYOUT SCALE: 1:1200 @ A3

Street Entrance

65


Experiential Response

67


T

he premises are situated in a prominent position in the centre of Leeds. The Light is an outstanding piece of architecture and it has six attractive display windows. The exterior is in need of a makeover but the existing signage has the potential to be transformed with fitted hydraulic rain shelters, which can be quite an attractive feature for a bakery. At No. 57 you are greeted by two glazed doors, which do not appear draw you into the space and could radically improve. No. 58 & 59 shop fronts will be refitted with glazed slabs of glass which not only allow light to reach the space but to frame a live

Fig. 44: Panoramic view of first floor interior.Its currently occupied by a pop up shop called the stalls.

performance for the pedestrian passer. Treating the ground floor space as a single unit you will immediately notice that the space further downwards is quite gloomy and I could see design potential, which could allow for more natural light. There is a generous ceiling height and front windows, which is a baker’s priority. The interior doesn’t appear to have any decorative features and will allow the design to work with a completely new shell. Greggs, Starbucks Coffee and Barburrito currently occupy these premises. They are all

part of a chain and would allow for the first independent business for this street. No. 58 & 59 currently have outdoors seating, which could be arranged differently in a French café facing the road, which would minimise obstruction of the display windows. Currently the first floor unit can only be accessed from the upper floor entrance and the design will provide a staircase to connect the levels. The mall offers excellent lift and escalator facilities, which are located close by. This would allow the

Fig. 45: Shop fronts exterior

№ 57

Fig.46:

View in to No. 57 currently occupied by Greggs.

EXPERIENTIAL RESPONSE

№ 58

№ 59

Fig. 47: Interior of No. 58 currently occuplied by Starbucks Coffee. Fig.48: Interior of No. 59 currently occuplied by Barburrito.

space not to be dictated by a lift shaft and allow the staircase to become a feature within the space. The unit has remained unoccupied for a while until recently a pop-up shop called ‘the stall’ emerged in 2012 and has kept its customers occupying its shop before it will be transformed into a restaurant in mid 2013. As shown in figure 49 on pg. 48 from the ground floor taking the escalator there are six-display windows, which would attract the customer’s attention, the idea should appear outrageous to drive them right when leaving the escalator. When entering the space double-glazed doors greet you with a beautiful classical surround featuring heavy bolection mouldings and panelling. As seen in figure 45 the existing shop fit has partitioned of the windows, which should be removed to allow for light.


Fig.49:

View of first floor entrance.

The space has a poor lighting arrangement and is currently lighted with basic GU10 fittings. The lighting currently surrounds four bulky columns as seen in figure 52. which has been designed to take adjustable shelves. They are not an attractive feature and could be carefully concealed within studwork throughout the design process. As shown in figure 51 there is a raised celling and lighting pelmet in the centre of the space, which surrounds the columns. The void appears to take wiring for the lighting but could gain more ceiling height by selecting a more flush light fitting. As shown in figure 53 the existing counter aligns with columns and junctions with staff room, which originally used to be the changing room. There is much studwork surrounding the space, which should be removed to create a more practical space. Fig.50:

Interior view of the pop up shop.

Fig.51:

Lighing pelmet in the pop up shop.

EXPERIENTAL RESPONSE

Fig.52:

Existing columns in the interior.

Fig.53:

Shop counter.

Fig.54:

View of staff room.

69


Summary

71


SUMMARY The City of Leeds has a wealthy history and came into power when the Victorians discovered the value of cloth, and invested their wealth in iconic buildings which are still in use today. Today the old and new come together and runs throughout the heart of this city. Formally known as the Permanent House (The Light) which are exclusive premises situated in a prominent area in the center and would establish a prime location to bring back real bread. The interior has reached a stage when too much has been added over the years. A partitioned wall currently obstructs the north facing windows on the first floor. The original steel framed windows are in keeping with the interior and would only require the dismantlement of the false studwork throughout the space to reveal its original shell. The building has the potential to allow for more daylight and ability to be structurally altered which will al-

SUMMARY

low for a new staircase to be featured within the space. The premises are located in the original building and have good access throughout the new extension. Electrical services surrounding the rooms appear to be positioned appropriately. Drainage and plumbing points appear to be in good order and the stack can re-connect to the new restroom facility which is located on the first floor. The modification to the layout has impacted the existing fire exits. Additional escape routes should be carefully considered thought the design process.

Fig. 55: Princes exchange, Leeds.

73


Research Context

Fig. 56: Baking Books

75


Precedent Studies

77


ELEKTRA BAKERY LOCATION: Edessa, Greece.

DESIGNER: Studioprototype Architects DATE: November 2009

Fig. 57: Exterior of the Elektra bakery.

79


Precedent study / Elektra Bakery

A

chain of family-run bakers called ‘Elektra’ recently opened a new store in the heart of Edessa, Greece. According to (Studioprototype, 2009) this small bakery stretches just thirty-five square meters and stands proudly on a busy pedestrian high street.

The local architect ‘Studioprototype’ delivered a simple solution to re-invent the overall identity of the bakery and allow the point of sale to become the design focal point. (Archdaily, 2011) Having to work with a very confined space and linear floor plan as seen in figure 61 - p. 56 the rectangular food counter is cladded with a stunning marble called Arabescato Carrara, which has no surface porosity. The shop-front features large bi-fold windows, which allows the space to be flooded out with natural light as shown in figure 59. The internal wall finishes are kept neutral allowing the

products to be showcased within the interior. The good use of materials - cedar, brass and the marble creates an interesting contrast and relation towards artisan bread.

Fig. 58: Bi-fold windows.

A black power coated steel window frame artistically captures the Elektra brand, which is visible from the street view as seen in figure 58.

Fig. 59: Bakery interior.

PRECEDENT STUDY


The stunning lighting fixtures shown in figure 62 were carefully chosen by Xavier Pauchard and designed by Tom Dixon which shapes and forms are inspired by the sculptural simplicity of brass cooking pots and traditional water vessels on the subcontinent. (Contemporist, 2011) Simple, modern, effective and balanced make this bakery a fine example of how a bakery utilize both indoor and outdoor space. It certainly allows its customers to watch the day fly by.

Fig. 60: External elevation.

Fig. 25

Do not scale

Fig. 61: Floor plan.

Do not scale

PRECEDENT STUDY

Fig. 62: Tom Dixon Lighting. Inspired by brass cooking pots.

81


BAKER D. CHIRICO LOCATION: Victoria, Australia. DESIGNER: March Studio DATE: November 2011

Fig. 63: External view of the Chirico bakery.

83


Precedent study / Baker D. Chirico. Daniel Chirico – Australia’s most renowned artisan bread maker had influenced many bakeries in Australia and has a clear vision to get real about bread. (Fabio Orgarato Designs ,2011) This stunning bakery is located in the Carlton neighbourhood of Melbourne and has undertaken a unique approach to the brand and identity. The visual identity of this bakery is based on a blend of modernity and uses good choices of materials. The organic forms of the ceiling appear to be rises in the bread making process and the checked flooring is influenced by black and white typography which is echoed in the packaging design. The bakery operates within a small space and creates a high degree of quality for its customers. According to (March Studio, 2011) the Architects, Daniel’s brief was clear: “Just bread”, he said, and passed us a loaf. “Just bread?”, we said, and thought of containers for bread. Baskets, cooling racks, peels. A basket the size of a shop. A basket that was also a rack. A single gesture. A Wall Of Bread. Bread is a simple product, of few ingredients, traditionally displayed and sold simply.” This innovative solution should empower my design Fig. 64: Interior of the bakery.

Fig. 65: Crumb catcher counter.

PRECEDENT STUDY

Fig. 66: Adjustable bread rack.

Fig. 67: Bread displays.


Do not scale

Do not scale

Fig. 69: Isometric drawing.

Fig. 68: Floor plan.

PRECEDENT STUDY

as it covers a bakers needs and has design qualities. The space appears to be an over-sized breadbasket but it has been designed that the wooden slats are adjustable shelving to showcase each bakery product. As (March Studio, 2011) state the wooden countertops have been

Fig.70: Ceiling close up

specially designed to collect bread crumbs and has integrated measuring scales which are connected to the point-of-sale terminal. The shop is linked to the baking area, which the oven is displayed for a customer viewpoint. I feel this is a great way of injecting the space with the fresh

smell of bread. Unfortunately the preparation areas are sealed off from the customer view, which I feel the customer experience misses out on. The Daniel Chirico bakery is a fine example and clearly shows its love affair with bread and is keen to develop creative space for its customers.

85


BÉCASSE BAKERY LOCATION: Sydney, Australia. DESIGNER: Mima Design DATE: n/a

Fig. 71: Counter display.


Precedent study / Bécasse Bakery It’s all about bread and patisseries. And of course, about the design carefully crafted in the newly built Westfield shopping centre in Sydney, Australia. Designed by Mima Design who which is based in the north of the city. Bécassa bakery specialises in exquisite French artisan bread, pastries and an appetising range of cakes.

A specially designed viewing window gives an insight into the day-to-day operation of the baker. It can be overlooked whilst enjoying an espresso and croissant at the stunning stone counter as shown in figure 72. According to (Bécasse 2012) the bakery ventures with a firm called Quarter Twenty One, which can be seen in the background of figure 73. It serves fine French cuisine and an endless selection of vintage red wines. It also has its very own cookery school, which collaborates baking skills. Sadly, the Bécasse Bakery was placed under administration, which later resulted in closure this August.

Fig. 73: Viewing window

The magnificent stone L-shaped counter showcases finest artisan products within the glass cabinets. It sure spoils its customers with an endless choice to dine in or take away. The counter is backdropped with a dark mahogany fitment, which accommodates shelving and a point-of-sale terminal. There are also additional storage units above the shelving which are mounted with chrome t-bar fittings. The dark marble flooring complements the stone counter and nicely reflects ceiling feature. The dropped ceiling is simply gridded around the counter with GU10s.

PRECEDENT STUDY

Fig. 72: Counter showcasing baker products.

[ behind the scenes ] open for customers

87


THE HANDMADE BAKERY LOCATION: Slaithwaithe, United Kingdom. DESIGNER: Tom Morgan Architects DATE: November 2012

Fig. 74: The Yorkshire Leaven


FRESH

Fig. 75: Artisan bread.

EVERYDAY

Precedent study / The Handmade Bakery The Handmade Bakery has a mouth watering selection of bread and patisseries. They are a loyal member to the real bread campaign and are a well-established business situated in the heart of Slaithwaithe, turning out hundreds of loafs each day. It was set up by a group of enthusiastic bakers who are passionate about bringing back real bread to the community. Originally the team started producing bread at ‘The

“flour, water, yeast, salt... bread revolution ”

Green Valley Grocer’ running as a not for profit organization. (Handmade Bakery, 2009) After a successful year, demands were soaring through the roof, which lead the move to a bigger bakery situated on the canal banks as seen on figure 82 p. 64.

Fig. 77: Counter.

PRECEDENT STUDY

Inspired by local Architect Tom Morgan who helped the team design a functional bakery and had exceptional support from volunteers within the community. Acccording to (Handmade Bakery, 2009) the building was originally a wool mill and the team saw real

(Handmade Bakery, 2009)

potential converting it into a bakery. The space is well-lit and has a high ceiling which allows extraction to circulate the space. When you enter the space you are greeted with an active surrounding, which lies behind the

counter and allows the customer to witness the bread coming out of the ovens. The walls are beautifully handwritten in chalk providing the customer with useful information on which day’s different types of bread are produced as seen figure 79.

Fig. 78: Cafe Area.

Fig. 76: Baking fresh.

The bakery and café is partitioned by the office and storage area, which is ideal for loading up the delivery van and keeps the goods entering separately from the café. During my observational research I was able to identify differences between a supermaket bakery and someone who really cares about bread.

Fig. 79: Blackboard Infomation.

Fig. 80: Bread moulding.

89


Fig. 81: Panoramic view of the handmade bakery.

Fig. 82: Scent the fresh smell of bread on the canal banks.

PRECEDENT STUDY

Fig. 83: Architects impression of the bakery.

Fig. 84: Architects impression of the bakery.

91


Reginbrot 100% bio LOCATION: Konstanz, Germany. DESIGNER: Unknown DATE: December 2012

Fig. 85: Backery shop front.


87

86

R

eginbrot, a well-established business tucked away on M端nzgasse, Konstanz. According to (Reginbrot, 2012) it has been baking here since 1698 and is certified to provide its customers with products using bio (organic) ingredients. The shop front

PRECEDENT STUDY

89 delivers are clear message to its passing traffic and has an attractive colour-changing feature. It is a simple statement, which educates its audience about their products. The bakery cleverly pumps the scent of fresh bread into the streets, which is located above the door shown in figure 86. It is hard to resist not buying a Neujahr brezel (Pretzel) freshly baked

Fig. 86: Family attacted by the shop front Fig. 87: A child staring. Fig. 88: A young audience walking into the main entrance. Fig. 89: flour in the grinding. Fig. 90: Hungry customers queueing in the shop.

for the New Year. During the evening they grind the grains as seen in figure 89 and throughout the night they proof the bread to rise. Reginbrot works with a small se-

88

90 lection of flour companies which are certified as bio suppliers. They employ around ten employees and deliver their products to around forty-five clients. (Reginbrot, 2012) This precedent study relates to my design concept, which underlines the word honesty and has proven that it interacts with the pedestrian passers.

93


Pano Brot & Kaffee

LOCATION: Konstanz, Germany. DESIGNER: Unknown DATE: December 2012

Fig. 91: Backery shop front.


kenyér brood хлеб chléb bukë kruh chleb pano leib ψωμί maize ekmek pan roti bröd brauð bread brot pain duona хлеб brød pa tinapay

93

92

P

95

94

96

kenyér brood хлеб chléb bukë kruh chleb pano leib ψωμί maize ekmek pan roti bröd brauð bread brot pain duona хлеб brød pa tinapay ano inherits its name from the Esperanto language meaning bread. (Pano, 2012) It spoils its customers with a mouth-watering selection of bread and coffee. The bakery is located in Konstanz near the city station on Marktstätte. They provide good

PRECEDENT STUDY

bread without additives and in addition you will find a various range of delicacies, whether sweet or salty. The bakery is popular with locals and travellers who escape the train wait whilst enjoying its cosy surroundings in the winter periods. There is a strong sense of connectivity within the space as shown in figure 93 where it unites strangers on a long rectangular ta-

Fig. 92: Bread in diffrent langauges Fig. 93: Connecting customers Fig. 94: Through the main doors Fig. 95: Preservatives. Fig. 96: Coffee and bread counter.

ble. After all according to (Rawlinson, 2012) a recent study by scientists at the University of Southern Brittany in France - the smell of fresh bread has provened to make us kinder to strangers. The interior is kept open plan

and maintains its original doorframes and classical décor surroundings. The space shown in figure 92 brings together a cultural theme uniting all the words meaning bread into different languages. Its main feature has to be its stunning vaulted ceiling as seen in figure 96. This place doesn’t disappoint and keeps its customer returning for more!

95


Concept Board

97 97


Fig. 98: Handmade

ITS

HANDMADE CONCEPT BOARD

98


Organic

CConnect

e l p o e P

Inspire

Process

British

Honesty

Educate

Intellectual

Artisan

Fresh

Tradition

CONCEPT BOARD

Fig. 97: Concept Board.

99


Language Statement

100


Bread is intertwined

Bread is sculpted

Bread rises

To join or become joined by twinding together. It is a work of art.

Create or represent by carving, casting or shaping techniques. Every piece is individual.

Move from a lower position to a higher one. It evolves into something special.

Fig. 99: Intertwined model.

Fig. 100: Sculpted model.

Fig. 101: Rising model.

LANGUAGE STATEMENT

101


flour, water, yeast & salt

measure ingredients

flour surface

mix and form dough

flour hands

kneading takes 15-20 min

kneading step one

kneading step two

kneading step three

kneading step four

leave the dough to proof

empty the risen dough

split in two

form round and apply seeds

30-40 mins at 200 째C Fig. 102: Language statement.

LANGUAGE STATEMENT


WORKS OF ART

potato bread

Fig. 103: Potato bread

LANGUAGE STATEMENT

the crust

Fig. 104: The crust

bon appetit!

Fig. 105: Bon appetit

103


Identifying the Audience

Fig. 106: Child

104


EIGHTEEN

ONLY

HOURS A DAY

SIX HOURS akery b e h t Till, again... p u s e wak

24hr

The bakery never sleeps

IDENTIFYING THE AUDIENCE

a regular customer at the neighbourhood deli before establishing her bakery on the Kensington Church Street. It appears there is a sense of connectivity within this street and is a certain design priority which will ensure that its bakers connect with its audience. It is not just about buying bread or a coffee to go it’s about the experience you receive and that friendly atmosphere which makes you want to return.

Being a baker is hard work and in order to keep customers happy they must be able to sell effectively thoughout the morning. To achieve, this bakeries work throughout the night and repeat another batch throughout the day. It appears our continental friends enjoy going to eat at the bakery in the middle of the night as part of their night out to socialize. It seems we are missing out on this because of our lost traditions and accessibility needs to broadened providing the younger generation with good food.

Fig. 108: 1. Audience participant

You need a community spirit! In a city it may seem impossible but according to (Dennis 2012, p.39). “It maybe in London’s smartest borough, but there is something decidedly villager about this bustling thoroughfare, with its flourishing antique traders and community spirit’’ to name one business Clarkes bakery providing great baking products and eat-in meals. The owner Sally worked as a fine artist who was

Fig. 109: 2. Audience participant

Fig. 107: Young audience at a the bakery.

Jackson 27 Interior Designer

Jackson is a succeeder and is always up for the challenge. He was brought up in Hong Kong and enjoys golf and fine wines. Although he wasn’t brought up with bread he insists that there is room for improvement, as he prefers the croissants in Paris rather than in the UK supermarkets. He isn’t afraid to try something as long as the outcome is delicious. Having lived in a density populated city he knowns the city never sleeps.

Judith 24 Public Manager

She grew up in Germany where bread plays a vital role in the society. It is part of everyday life and they are used to buying their bread fresh every day. During her childhood she remembers walking to the bakery which was close-by and enjoyed the experience of fresh bread in the air. Germany has a variety of over 300 different types of bread. Her mother used to write down the different types

of bread to get. During this time there was a real sense of trust within the local community and built up close relationships with their customers. Even today shops are closed on a Sunday in Germany but the bakery left the bread outside for them on a Sunday morning to pick it up and they were able to pay in advance or back through the weekday. The experience she got out of this made her wanted to become a baker herself but having to get up in the middle of the night wasn’t too attractive. She graduated in Public Management and worked at the City of York Council. Having noticed that it was hard to find a good quality bakery over there and felt that Britons were missing on good quality bread, she hopes that the British people will one day realize the purpose of having excellent bread and appreciate artisan skills.

105


Fig. 110: Bakers outside an Australian bakery.

EMPLOY PEOPLE WITH A PASSION AND TALENT FOR BAKING.

IDENTIFYING THE AUDIENCE

[ Voluntary apprenticeships ]

HANDS ON SKILL SHARING IS ESSENTIAL TO REBUILD OUR LOST HERITAGE TALENTS

Matthew 36 Master Baker

Alan

Neil

One of the founders of the handmade bakery. He is passionate and hardworking. He takes great pride in putting his name on their loaves. His background is fine art and he enjoys living in Slaithwaite. His father doesn’t eat his bread and prefers it from a packet. His children refer it as ‘Granddad’s bread’

The master of the dough! He works like a scientist to get the perfect mixture. He works to a tight schedule and he ensures that he delivers quality.

He is the Sainsbury’s in-store bakery manager and he works hard to ensure that his staff meets the required demands of loaves. He doesn’t really eat much bread and he expressed that quality of bread could be better in Britain.

Fig. 111:

Fig. 112:

3. Audience participant.

43 Skilled Baker

He never gets bored of bread!

28 Bakery Manager

“ ”

IF YOU DON’T SHARE YOUR KNOWLEDGE YOUR CRAFT DIES WITH YOU. Aidan Chapman

Real Bread Campaign (Chapman, 2012, p.61).

4. Audience participant.

Fig. 113:

5. Audience participant


Brand Analysis

Fig. 114: Marketing material from Baker D. Chirico.

107


connectivity The ability for customers to communicate with the baker.

BRAND ANALYSIS

openness

honesty

An insight into the daily operation of the baker. Nothing is hidden and the baking products will be on show. eg: flour sacks


Fig. 116: Bread from the handmade bakery.

A

t Artisan our philosophy is very WE BUILT STARBUCKS BRAND simple: fine bread depends on excellent inFIRST WITH OUR PEOPLE NOT gredients and the amount WITH CONSUMERS — THE of love and care devoted OPPOSITE APPROACH FROM THAT throughout the production. It’s slow and this proOF THE CRACKERS AND CEREAL cess enhances the flavour COMPANIES. without any of the nasty additives or preservatives. It’s ethical and we will ensure our signature branded flour is certified organic. Flour is the essential ingredient in bread making and we will be proud to support British flour millers and become part of the real bread campaign, which campaigns for better bread in Britain. It’s traditionally handcrafted which puts a stamp on our brand.

“ ”

Our motto: honesty, openness and connectivity. The design will speak for itself and our sourdough range will have our logo flour dusted on top. After all the Starbucks paper wouldn’t be the same without it’s distinctive logo on the front, so why can’t bread be too.

Howard Schultz

Starbucks Chairman & Visionary. (Schultz, 2012, p.61).

Fig. 115: Loaf dusted with logo on.

UNITED WE BRAND

109


ART ISAN TM

EST. 2012

ART ART ISAN

BREAD MADE WITH PASSION

BREAD MADE WITH PASSION

Fig. 117: Logo option one.

TM

Fig. 118: Logo option two.

ISAN

TM

BREAD MADE WITH PASSION EST. 2012

EST. 2012

Fig. 119: Logo option three.


Design Development

111


Fig. 120: Development sheet showing space circulation around the mixing and baking zone.

DESIGN DEVELOPMENT / KEY SHEETS


Fig. 121: Development sheet showing the planning of the ground floor space.

113


Fig. 122: Development sheet showing the planning of the first floor space.

DESIGN DEVELOPMENT / KEY SHEETS


115


Fig. 123: Spatial Planning for seating booths situated on the ground floor.

DESIGN DEVELOPMENT / KEY SHEETS


117


DESIGN DEVELOPMENT / KEY SHEETS

119


Concept Scheme

120


ART

ISAN

TM

BREAD MADE WITH PASSION EST. 2013

121


Our bread was a bag of flour at 4 am ... ... Taste the Difference!!

122


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WE SELL REAL BREAD with honest crust!

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We support the


Brief

124


}

FLOUR WAITER SALT YEAST FAT FLOUR TREATMENT AGENT BLEACH REDUCING AGENT SOYA FLOUR EMULSIFIERS EMULSIFIERS GLYCEROL LECITHINS PRESERVATIVES CALIUM PROPIONATE ACETIC ACID ENZYMES GLU COAMYLASE MALTOGENIC AMYLASE BACILLUS STEAROTHERMOPHILUS OXIDASE LIPOXYGENASE PROTEASE PEPTIDASE TRANSGLUTAMINASE LIPASE PHOSPHOLIOPASE HEMICELLULASE XYLANASE

[ THE MISSION ]

There is exceptional bread in Britain

- but it isn’t celebrated! The days when fresh artisan bread came hand-sculpted have long disappeared. Britain will learn about the real bread!

I know that ‘‘man canot live on bread alone’’. I say, let us get the bread right. David Scott. Selected Poems

(Scott,1998, p.31).

CALIUM PROPIONATE ACETIC ACID ENZYMES GLU COAMYLASE MALTOGENIC AMYLASE BACILLUS STEAROTHERMOPHILUS OXIDASE LIPOXYGENASE FLOUR WAITER SALT YEAST FAT FLOUR TREATMENT AGENT BLEACH REDUCING AGENT SOYA FLOUR EMULSIFIERS EMULSIFIERS GLYCEROL LECITHINS PRESERVATIVES PROTEASE PEPTIDASE TRANSGLUTAMINASE LIPASE PHOSPHOLIOPASE HEMICELLULASE XYLANASE


Problem


80 %

Unwrapping the problems   of packaged bread.

20 %

The Choreleywood bread process revolutionized the way bread was made in Britain, and now more than 80% of all loaves in the country are made that way. (Whitmire, 2011)

Choreleywood Bread (Bread) 127

Real Bread (Artisan)


Site


existing plans

NORTH

Architectural model of the site. Viewing the buildings facade.

The light features: - 350,000 sq ft (32,515 sq m) Retail & Leisure scheme - 420 space lower level car park - 12 retail units - 14 restaurant / bar units - 13 screen VUE Multiplex cinema - 147 bedroom deluxe Radisson BLU Hotel - 26, 000 sq ft (2, 415 sq m) Virgin Active Health Club

EXISTING FIRST FLOOR SCALE: 1:1200 @ A3

Sourced information: The light corporate booklet.

Architectural model of the site. Viewing the ground floor.

EXISTING GROUND FLOOR SCALE: 1:1200 @ A3 Architectural model of the site. Viewing the first floor.

130


Event Schematic


Rear Entrance | Acess to Mall

P

Fire Exit

FI

O

RO

NG

§

A RE

First Floor

A

PR

O O FI N

G

AR

EA

Staircase

G

ER BS

EA

AR

Baking Zone

O N

O

TI VA

O PE N N ES S

IN AT

SE

Fire Exit

T IN

ER BS

PO

O TI VA N

O

{

.S

ER

T UN

Storage

CO

O P.

IT

Four sacks and baking products to be displayed for customer to view. This will create a sense of honesty in the space.

Street Culture North facing windows to attarct attention. It’s 100% Stone Ground 100% Organic 100% Yorkshire

Goods In

§

Entrance

134

THE HEADROW

DI

SP

LA Y

UN UN IT

Storage Display Window

CO

LA Y

HONESTY

ER

T UN

SP

Goods to be within close range to transport to the mixing zone.

.S

O P.

DI

Revised: 11 March 13

{

CUSTOMER WALKING ZONE

Mixing Zone

CUSTOMER WALKING ZONE

EVENT SCHEMATICS - GROUND FLOOR

T

IN

PO

Customers can walk beyond this point.


OBSERVATION POINT

OBSERVATION POINT

RETAIL AREA

OBSERVATION POINT

Mall F.F Entrance Fire Exit

BAKERY (GROUND FLOOR)

Revised: 11 March 13

OBSERVATION POINT

SEATING AREAS

OBSERVATION POINT

SEATING AREAS

OBSERVATION POINT

SEATING AREAS

{

EVENT SCHEMATICS - FIRST FLOOR

{ Staff Changing Room

W.C.

COUNTER P.O.S

TOASTING AREA

Male, Female & Disabed.

135

ESPRESSO BAR

Staircase


proposed plans

NORTH

Proofing Units

136

PROPOSED GROUND FLOOR SCALE: 1:100 @ A3 / 11 MARCH 13


NORTH

Observational Deck

137

PROPOSED FIRST FLOOR SCALE: 1:100 @ A3 / 11 MARCH 13


Design Concept


connectivity The ability for customers to communicate with the baker.

openness

honesty

An insight into the daily operation of the baker. Nothing is hidden and the baking products will be on show. eg: flour sacks

139


24 hr REAL BREAD ACCESSIBLE

24

140


RISING EXPERIENCE

ยง

141


Materials


Birds eye maple Vaneer.

Brushed Aluminum.

Aviad Petel | 99 - This Israeli creation is 99 strips of veneer fiber that come to life. It’s by Aviad Petel.

Bread Tin

Albeflex is a laminated material with outer layers of wood veneer. The core consist out of a flexible material, such as textile. This way the veneer can be formed to a tight radius. Due to the thin section of the material, it is semi-transparent, if a transparent flexible backing is used.

Albeflex TT Sheet is a flexible wood veneer backed by a support material which allows it to be sewn or even embroidered. This sheet can be made from all types of wood and can be glued to any surface. When treated with various elements, the TT Sheets are suitable for thermoforming and injecting. This is interesting for the automotive and other sectors where moulding and gluing are common techniques. TT Sheets will give end products not only the look and feel of wood; it really has a genuine wood finish. Maximum sheet-size is 3050x550mm, thickness is 0,7mm.

Alumillenium was founded in 1996 with the idea to create a new innovative concept using recycled metal materials as the principle component for tiles.

C : 38 Y : 35 M : 29 K:3

C : 32 Y : 45 M : 67 K: 8

143

Verre églomisé, from the French term meaning glass gilded, is a process in which the back side of glass is gilded with gold or metal leaf. In one method, the metal is adhered using a gelatin adhesive, which results in a mirror-like, reflective finish in which designs are then engraved. The metal leaf may be applied using oilbased adhesives (goldsize varnish) to achieve a matte finish. The gilding may also be combined with reverse painting on glass.


Furniture


Giancarlo Zema: Stools & Coffee Tables

{

FURNITURE PALLET - INSPIRED BY FORM

{ Tom Faukner: Dining Tables

Smania: Fixed upholstered low chair with arms, polished stainless steel details. Width / 65,5 cm Depth / 53 cm Height / 82 cm

Alexander Gufler: The Berta Chair

Fall-Off Table by Sam Stringleman

145


Lighting


1

2

8

7

{

LIGHTING BOARD - DECRATIVE SCHEME

{ 6

1/ Artisan Bread - Scord Lines 2/ Oluce - Francesco Rota wall lamp giving indirect light (up & down) in transparent oval Pyrex glass. Structure and screen in composite material. 3/ Detail of lamp 4/ John Cullen Downlighter (Single / Double) 5/ OLUCE - Francesco Rota chrome body. 6/ Oluce Wall & Ceiling lamp giving direct and indirect light. Glossy aluminium structure and reflector ‘’dark light’’. Covering in transparent Pyrex glass. Chromiumplated metal wall fixing.7/ Oluce - Studio 62 Wall lamp giving up & down light in curved laser-cut metal. White lacquered metal wall plate. White lacquered or chromium-plated metal screen. 8/. Heatherfield Lighting - Opttional Ceiling Fitting.

5

4 3

> CEILING LIGHTS > WALL LIGHTS > PENTANTS 147


Tom Dixon: Beat Light A pendant light inspired by the sculptural simplicity of brass cooking pots and traditional water vessels on the subcontinent. Beat Light Fat is spun and hand-beaten by renowned skilled craftsmen of Moradabad in Northern India. Made from brass with a black external paint. The Beat collection also includes Tall, Wide and Stout.

148


Display


Ready made bread kits for

SUCCESSFUL HOMEBAKING

FRESH YEAST

YORKSHIRE ORGANIC FLOUR

150

Starter Kits


VERTICAL ADJUSTABLE SHELVING TRACK

MICHEL BOYER adjustable shelving system France, c. 1970 stainless steel Six interchangeable shelves can be configured along three vertical tracks.

STEEL LONG Decorative wire mesh sheetCategory:Decorative Wire MeshMaterial:stainless steel wire, aluminum wire, copper wire, middle steel wireProperties:Unique design and appearance, Variety of openings and sizApplication:widely used as curtain, screens for dining hall, isolation in the hotels.

151

BREAD TIN PROFILE


GOODS ENTRANCE

NORTH ELEVATION - HEADROW STREET SCALE: 1:100 @ A3

NORTH ENTRANCE

152

DISPLAY WINDOWS


12

2

1

3

13

11

MATERIALS & COLOUR 14

15

DISPLAY UNITS

10

4

Albeflex is a laminated material with outer layers of wood veneer. The core consist out of a flexible material, such as textile. This way the veneer can be bent at very tight radii. Due to the thin section of the material, it is semiâ&#x2C6;&#x2019; transparant, if a transparant flexible backing is used.

16 18

19

17 8

9

5

6

1/ Isometric of bread racks 2/ Baker D. Chirico Bakery, Australia 3/ Aesop Fillmore Street by NADAAA 4/ Aesop-Newbury Street by William-O-Brien 5/ Librairie La Fontaine by Kawamura. 6/ Lighting March Studio. 7/ Zmianatematu by xm3. 8/ Librairie La Fontaine by Kawamura. 9/ Henri Willig Cheese, Amsterdam. 10/ Uncooled bread texture. 11/ Cooled bread texture. 12/ Helimatic Cooler 13/ Munich-La-Roca by Bailo Rull ADD Arquitectura. 14/ Albeflex used on furniture 15/ Flexable Albeflex 16/ Toast Art (Colour Reference) 17/ Vammos Restaurant by LM-Architects. 19/ Hilton Pattaya Hotel.

HELIMATIC COOLER

SEATING BOOTHS

7


Any great creative idea should stun momentarily â&#x20AC;&#x201D; it should seem to be outrageous.

Damn Good Advice Deliberate Productions

154


07

01 Fig. 01: Thomas Heatherwick: Harvey Nichols, a renowned department store in Knightsbridge, London, commissioned the studio to produce an installation to celebrate London Fashion Week 1997. Fig. 02: Hugo Boss, New York. Fig. 03: Jo Malone London - Shop Front Rain Shelter Fig. 04: Meat Packing Market - Bakery showcasing a live proformance. Fig. 05: Shop front of figure 4. Fig. 06: Boundin Bakery - San Francisco Sourdough. Living proformance. Fig. 07: Shop front Fig. 08: Educating people about produces. Fig. 09: First Floor (Mixing Area)

02

04

08

03

05

06

155

09


Sketch Models


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Models / Bread Art

01

03

02

04

05

06

Fig. 01: Bread model concept for seating Fig. 02: Front view Fig. 03: Scupture Fig. 04: Shapes & forms. Fig. 05: Sliced Bread. Fig. 06: Seat.

157


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Models / Ventilation

Baking Zone

01

03

02

Mixing Zone

VENTILATION 04

Extraction Technical ventilation plant for reducing flour substances Essentially, the technical ventilation measures are restricted to dust extraction and vapour traps. With regard to the requirements of dust extraction equipment, we also refer to point 8, â&#x20AC;&#x153;Observing the maximum workplace concentration value and carrying out measurementsâ&#x20AC;?. Depending on the quantity (volume flow) of the extracted air, mechanical provision of incoming air is necessary. What is important is that all ventilation components are based on an overall concept. Extract from Basic requirements for bakeries, pg: 12.

Fig. 01: Thumbnail Sketch of Venterlation Tunnel Fig. 02: Sketch Model Fig. 03: Showing ceiling detail Fig. 04: Arrows indicating extraction.

158


2/3

Models / Bread Art

159


Visualization


Track

Yorkshire Flour

Vinatge Espresso Bar Serving Artisan Coffee

Visual overlooking Mixing Zone & Baking Zone 162


Visual overlooking Counter Area 163


Detail


165


THANK YOU AND ...


.((3 &$/0 $1'($7

5($/ %5($'



ZZZUHDOEUHDGFDPSDLJQRUJ


Planning Application

168


1/1

PLANNING APPLICATION / LEEDS CITY COUNCIL

1 of 9

2 of 9

3 of 9

Fig. 124: Planning Application

Fig. 125: Planning Application

Fig. 126: Planning Application

PLANNING APPLICATION

169


2/3

PLANNING APPLICATION / LEEDS CITY COUNCIL

4 of 9

5 of 9

6 of 9

Fig. 127: Planning Application

Fig. 128: Planning Application

Fig. 129: Planning Application

PLANNING APPLICATION

170


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PLANNING APPLICATION / LEEDS CITY COUNCIL

7 of 9

8 of 9

9 of 9

Fig. 130: Planning Application

Fig. 131: Planning Application

Fig. 132: Planning Application

PLANNING APPLICATION

171


Access Statement

172


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Access Statement / 57-59 Headrow, Leeds.

19 GROVE STREET / MIRFIELD / WF14 0QY / UNITED KINGDOM M. +44 (0) 77627 72824 T. +44 (0) 1924 689647

E. hirstdesigns@me.com ..W. hirstdesigns.blogspot.co.uk

HIRST DESIGNS INTERIOR CONSULTANTS

ACCESS STATEMENT


2/6

Access Statement / 57-59 Headrow, Leeds.

0.1 / INTRODUCTION

This report is submitted in support of an application for Planning Permission and outlines the proposal for the conversion of 3 No. (57, 58 & 59) retail units. (Two existing restaurants into one large retail unit) located on The Headrow, Leeds.

ST ANNES STREET

ALBIO

E STREET

N STRE

ET

COOKRIDG

The premises are located on a major high street, which connects the two main high street junctions. The premise is adjacent to The Light shopping mall formally known as The Permanent House.

ROSSINGTON STREET

THE HEADROW

Fig. 136: The Headrow over look the three occupied units (57, 58 & 59)

0.3 / EMERGENCY ACCESS & EXITS: Fig. 137: Aerial View from North.

Fig. 135: Location Plan

ACCESS STATEMENT

Fig. 138: Street View from North West.

174


3/6

Access Statement / Existing Building

North Elevation.

The Headrow in 1946. Image: A. Ashworth

ACCESS STATEMENT

Shop fronts.

The Headrow in 1967. Image: B. Yebb

Boarded up windows.

Mould on stonework.

Metal Grills.

Damaged door.


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Access Statement / Proposal

0.2 / PROPOSAL

The proposal seeks to restore the upper two-storey building of the existing façade, which will replace the dated shop front with a more desirable front without harming the character and setting of the Conservation Area or Listed Buildings along. The proposal reintroduces Rain shelters to ‘The Light’ and will use high quality materials through the renovation. The purpose of this building seeks to put real bread making back on the map of Leeds. The local company Artisan aims to create up to twenty new jobs and will help restore this neglected exterior by cleaning the stone surrounds and cornices, which will help to bring back the building to its former glory. The proposed shop front will retain the stone surround and replace the metal grills with full height width glazing to maximize views and allow natural light into the bakery whist retaining a visually stable and grounded design.

Artist impression of the proposed shop front. GOODS ENTRANCE

ACCESS STATEMENT

NORTH ENTRANCE

DISPLAY WINDOWS

176


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Access Statement / Internal Alterations

Ceiling Cut Out.

Stairs.


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Access Statement / Access for the Disabled

0.4 / ACCESS TO SITE:

Fig. 133: Goods Entrance.

The main entrance is positioned north of the building which is connected to a busy pedestrian high street known as the Headrow. The light offers an excellent range of access facilities for the public which includes its own secure 24hr car parking facility which has a reputation for zero crime rates. The site offers parking for the disabled and has allocated staff parking. The building is limited for delivery space however there is one bay located at the rear of the building. The proposals submitted will allow the site to have its own unique delivery entrance. The site can be accessed by the public from three entrances: two on the ground floor and the one on the first. Although the shopping mall isnâ&#x20AC;&#x2122;t open 24hrs the building can still be accessed from the pedestrian street which would be kept open. The first floor would be sealed off and will only be used through day time.

Fig. 136: The Headrow overlooking the three occupied units (57, 58 & 59)

0.6 / EMERGENCY ACCESS & EXITS:

Fig. 134: The Light Car Park.

Fig. 135: First Floor Entrance.

ACCESS STATEMENT

0.5 / ACCESS COMPONENT:

Accessibly for the disabled has been carefully coincided throughout the space. The proposed layout allows all users to have an equal and convenient one. Part M Building regulations will be priority throughout the space. There are no proposals to include a lift in the space as the area is limited, however; the mall offers these facilities to access the first floor. In case of an event that the lift isnâ&#x20AC;&#x2122;t working it can be still accessed from the buildings east entrance. Both Male/ Female bathrooms will be equipped disabled cubicles and one separate unisex. Counters provide a loop system for those with impaired hearing and the retail areas located near the counters will allow people with wheel chairs to be able to reach the products.

The build in total has four fire escapes and will provide the correct illuminated signage which will be displayed throughout the escape route. In an event of emergency professional services can park at the north entrance without obstruction.

Fig. 137: Ground Flood Plan (Red Arrows indicate exits)

Fig. 138: First Flood Plan (Red Arrows indicate exits)


Trend Report

Fig. 139: Studio Rygalik’s ‘Baguette Table’

179


1/3

Materials / Verre EglomisĂŠ

141

142

143

05 144

Secret Passage 140

V

erre Eglomise is a timeless material. (Shown in figures 141 & 144) According to (Decorumest 2013) it is an ancient decorative art form which simple involves the use of paint and gilding on the back of glass. Someone highly skilled would undertake these techniques, which were incorporated into gilt frames during the early 19th century in France. As time has moved on these techniques and methMATERIALS

ods have become more cost effective to produce and recently a company named â&#x20AC;&#x2DC;Decorumest Estâ&#x20AC;&#x2122; has started to reinvent the methods of transforming walls into works of art. Although the popularity of this material is mainly used as cladding it can now be seen used in furniture or quirky mirrors as shown in figures 142 & 143. The beauty with eglomise is that you can choose between the different types of dis-

140 Verre Eglomise (Wall Cladding) 139 Distressed eglomise mirror 140 Mirror titles inset with geometric shape 141 Contempoary hexagon shaped mirror 142 Distressed differential.

tressed looks and colours within the mirror. You can see the distressed differential in figures 142 & 143. Potentially, Verre Eglomise could be used for shelving backdrops or cladded featured walls. The material

cross-references the colours from bread and those exquisite forms of bread making. As shown in figure 140 the mirror can be cut to bespoke sizes and could be used in featured areas. It is clever how not only the walls can be cladded in mirror but the door also which creates an interesting illusion as shown in figure 140. It could protentially be used in those areas sealed off from public eg: staff changing rooms etc.

180


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Materials / Luminoso

L 149

147

145

Wood in a new light: LUMINOSO â&#x20AC;&#x201C; a new material inspires architects and designers.

148

uminoso is an exiting new material on the market offering extraordinary design possibilities. According to (Luminoso 2013) they are wood panels that transmit light, creating outstanding transparent effects. It is achieved by using veins of fibre optics, which run through solid wood lamellas. This allows you to create custom effects such as signage, works of art and much more. This product has the potential to be used on a number of applications, which could be used in the espresso bar as shown in figure 4 and could be used to indicate the different types of bread. The beauty of using this product is that it allows you to select from a range of materials shown in figure 7.

150

146 MATERIALS

145 Walnut Sample 146 Shown illuminated 147 Lighting effects can be acheived. 148 Close up 149 Luminated columns 150 Samples and lighting guides.


Materials / 3D Surcface

3/3

S.r.l.

3

D Surface is an Italian based company which produces innovative surfaces, mainly used for wall cladding. These unique tiles are inspired by original art trends and are ideal for any environment. Shown in figures. 151 the Caos tile characterized bread sculpting by a precise geometry and allows light to pay a fundamental role. It ideally could be used on walls, which need character. The surface comes in a series of different forms, which could be used in the restrooms. According to (3D Surface 2013) this company offers bespoke design services for customers. A true â&#x20AC;&#x2DC;tailoringâ&#x20AC;&#x2122; of the space allows a specialist team to design and shape the ideas of the most demanding customers.

151

156 152

MATERIALS

153

154

155

182


1/2

Technology / Plywood

P

lywood is produced by sandwiching together a number of thin piles of softwood / hardwood. It is commonly used for manufacturing furniture, which is meant to be

BACK TO SCHOOL

l o o ch ly

S d l O

hardwearing. The beauty of using plywood is that its flexible and allows you mould its properties in unusual forms as shown in figure 158 without losing its structural strength. It makes it an ideal material to construct the staircase from.

157 Old Ply School Chairs 158 Chair by Gypsy Made 159 Impression of Staircase 160 Diagram demonstrating the problem 161 & 162 Indicating how the strengthening of the stair treads is done.

P

(a.)

(b.)

158

157

161

TOUGH

162

SOLUTION

PROCESS

but...

Bow

Problem

1500

159 MATERIALS

160

do not scale

Step one: involves gluing together the piles of softwood to form a solid sandwich.

Step two: if ply going to be formed into a curved profile. The piles of softwood/hardwood are clamped to a jig and left to set hard.

Step three: Once the plywood is formed it is removed from the jig and moves on to the finishing process.

Step four: The excess glue is sanded and the finished chair leg is completed.


2/2

Technology / Plywood The Ultimate Ply Sandwich

Soild

Figures 164-165 shows the strength of the structure of ply compared to solid wood. According to a documentary by (Sachs. T. 2012) As shown in figures 166 & 167 unlike solid timber it clearly shows that plywood can be nailed or screwed in to place which would allow for though plywood would be used the staircase baluster to be conto heavily construct the staircase nected to the stair tread. The it can however be used in overcontrasting strip would be conall design such as in the ventitrcuted from a seperate strip of lation lamellas which surround ply which would be slotted to the mixing and baking zone. place as shown in figure 169. Al-

Vs. 163

164 Soild

(a.)

Result

165 Ply

168

169

(b.)

166

Solid Timber TECHNOLOGY

167

Plywood 184


Lighting / Tom Dixon

2/2

Fig. 170: Tom Dixon Pendants

Designed by Tom Dixon which shapes and forms are inspired by the sculptural simplicity of brass cooking pots and traditional water vessels on the subcontinent. (Contemporist, 2011)

LIGHTING


1/2 Fig. 173: Scoring Bread.

Lighting / Oluce

Fig. 171: Ceiling Lights.

E

Fig. 172: Wall Light

choing the bread process and powering the interior is key. The lighting pallet has been based on bread scoring and feels these small details allow the customers to appreciate the interior. According to (Oluce 2013) the firm was established by the master Giuseppe Ostuni in 1945 and is currently the oldest Italian lighting company still active today. Designed by Laudani Romanelli and Ferdi Giardini, they proposed a way of doing design that exceeds its function and turns itself into poetry. As shown in figure 171 the â&#x20AC;&#x2DC;line pareteâ&#x20AC;&#x2122; collection washes streaks of light against the wall.

LIGHTING

186


GET THE MESSAGE ? Unscrew the finest culinary art with Mozzers Finest. The Hamburg based firm produces bottles of love sealed with local ingredients. The company produces a mouth-watering selection of unusual salts, exquisite oils and an exciting range of ready-made ingredients for baking. According to (M. Koop 2013), chef and partner of the NIDO Restaurants & Cater-

ing in Hamburg assure its customers that they only encapsulate quality ingredients without additives, which are unfortunately found in most ready-made products. The company brands itself by simplicity labeling and exposing its fine ingredients through a clear bottle. The bottles are environmentally friendly and are perfect for measuring the required 500ml of lukewarm water. Lets admit it most of us today lack time and do not have all those fancy ingredients in the house. It was Mozzers mission to bring back home baking which the family could be involved in. The concept of selling these bottles at Artisan would allow its customers to connect with the bakers and could offer bespoke creations.

[ A CLEAR MESSAGE ] DELIVERED TO YOU IN A BOTTLE

BREAD IN A BOTTLE BRANDING

Fig. 174: Mozzers Finest


Fig. 175: Shop front.

B

aker D. Chirico one of Australia’s renowned Focused on the juxtaposition between artisan bread age-old tradition and craft, and conmakers celtemporary design thinking with a surebrated their new launch of their new identity acreal twist, the new store creates a truly cording to (Identity Deunique and unexpected experience. signed 2012). Simplicity is often the answer to everything and allows the name of the bakery to speak for itself through its custom built typography as seen on the outdoor signage in figure 175. It’s illuminated signage standout and allows the shop front to say it all. I do feel that the wall of the bakery could be improved by incorporating text into the wall. This would educate its audience and provide a better branding. Packaging has played an important role and is cleverly echoed the black and white checked flooring into wrapping paper.

SIMPLE BRANDING ”

Fig. 176: Packaging matching checked tiles of the interior.

Fabioon Garato Design (Identy Designed, 2012).

BRANDING

188


1/1

Visualisation / Methods

Fig. 177: Daniel Libeskind Sketches (IWM Manchester)

A

n impressive technique developed by J. Loyd from the University of Sheffield. He visualised an interior by sketching a draft layout and translated it into sketch up. According to (J. Loyd 2008) he developed a series of sketches towards a basic sketch up wireframe. Shadows were switched on to provide him with reference points where light dropped on to the beams and apple crates. He then traced the sketch wireframe and started draw and shade into the drawing creating impressive results. I feel I could reference from these techniques but use 3D Studio max instead of sketch up. Seen in figure 177, I feel the works of Daniel Libeskind has beautiful line work and I believe the quality of these line works are missing in figure 178 and a sketchy technique would enhance the visual further. Fig. 178: Abundance Project: A table in Situ, J. Loyd

VISUALISATION


Project Administration

191


Working Drawings

193


Furniture Schedule

200


Key Colour Product Image (refer to plan)

(if available)

Supplier

Product Code

Colour

Sizes (MM)

Additional Information

Giancarlo Zema

8097 Bright Stool

Bright Woods Colection

H. 420 W. 550 D. 550

Total Qty: 8

(name if available)

(height x width x depth) (mm) (mm)

Key Colour Product Image (refer to plan)

(if available)

Supplier

Product Code

Colour

Sizes (MM)

Additional Information

Grayham & Green

YRX3271 Tolix Armchair

Varnished Steel

H. 720 W. 450 D. 460

Total Qty: 28

M220110 Xavier Pauchard Replica Tolix Table

Varnished Steel

H. 720 W. 450 D. 460

(name if available)

(mm)

Matt Blatt

Eichholtz

05451 Table Console Carlisle XL

Stainless Steel

(height x width x depth) (mm) (mm) (mm)

(mm) (mm)

Total Qty. 7

(mm)

H. 760 W. 2200 D. 550

(mm) (mm) (mm)

Total Qty. 1


Scope of Work

202


1/1

Scope of Work / Artisan Bakery, Job Ref: 001 INTRODUCTION: Hirst Designs will research and analyse, develop and present a specific design solution in reference to the below and make amendments, where deemed appropriate, to the design stages following discussion with the client. The scope of activity to be undertaken by the design studio will progress to a series of defined stages as outlined below: ○ Stage One Fee / CONCEPT DESIGN APPROVAL

BREAKDOWN FEE STRUCTURE

Stage One Fee / CONCEPT DESIGN APPROVAL 35% of total design fee (8.5% of £290,000 [estimated contract sum] = £78,200.00) =£27,370.00 + expenses + VAT

Hirst Design will prepare solutions to meet brief requirements through a written and illustrated document, which will include innovative ideas to drive the design process forward. A design development pack will be presented which contains 2D-3D visual components to form a professional design package. This will lead to a fully realised concept design.

Stage Two Fee / FINAL DESIGN APPROVAL 20% of Total Design Fee (8.5% of £290,000 [estimated contract sum] = £72,800.00) =£14,560.00 + expenses + VAT

○ Stage Two Fee / FINAL DESIGN APPROVAL

Stage Three Fee / STAT. APPROVALS – TENDERING – START ON SITE 20% of Total Design Fee (8.5% of £750,000 [estimated contract sum] = £72,800.00) =£14,560.00 + expenses + VAT

Following discussions and revisions approved by the client will enable a final design stage which will allow detailed drawing work to commence. This will include rendered plans, sections, sample boards and realistic visualisation. ○ Stage Three Fee / STAT. APPROVALS – TENDERING – START ON SITE

Stage Four Fee / PART WAY THROUGH CONTRACT 10% of Total Design Fee (8.5% of £750,000 [estimated contract sum] = £72,800.00) =£7,280.00 + expenses + VAT

A package of tender working drawings, scheduling and relevant contract information will be provided to the appointed contractor. Planning and building regulations are includued.

Stage Five Fee / (Final)….10% plus adjustments – COMPLETION & FINAL ACCOUNT Final 8.5% payment given on completion of job

○ Stage Four Fee / PART WAY THROUGH CONTRACT

Total and Final Application 8.5% of Actual Final Contract Sum [£937,000]..................................... = £ 79,645.00 Less amounts previously invoiced (invoices 01,02,03 and 04)............... = £ 63,770.00

Hirst Designs will ensure site checks are made on a regular basis. Site meetings will take place ensuring the contractors are on track. ○ Stage Five Fee / (Final)….10% plus adjustments – COMPLETION & FINAL ACCOUNT A meeting will take place to discuss the final account and completion dates for the project.

SCOPE OF WORK & FEE STRUCTURE

Therefore Amount outstanding.............................................................. = £ 15,875.00 Plus expenses....................................................................................... = £ 2000.00 Plus VAT (20 %)..................................................................................... = £3,575.00 TOTAL NOW DUE................................................................................... = £21,450.00

203


Architects Instruction

205


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AI / INTERIM, COMPLETION CERTIFICATES

Hirst Designs 282a Molyneux Pl W1H 5HS London

Hirst Designs 282a Molyneux Pl W1H 5HS London

Hirst Designs 282a Molyneux Pl W1H 5HS London

001

DSL Contactors Ltd 34 Rossington Lane Leeds LS26 7AZ

24 MAY 13

01

1

1

The Light Unit 57 The Headrow Leeds LS1 8TZ

Hirst Designs 19 Grove Street Leeds LS11 9AX

001

DSL Contactors Ltd 34 Rossington Lane Leeds LS26 7AZ

14 JUNE 13

01

The Light Unit 57 The Headrow Leeds LS1 8TZ

15 APRIL 13

Hirst Designs 282a Molyneux Pl W1H 5HS London Hirst Designs 19 Grove Street Leeds LS11 9AX

001

DSL Contactors Ltd 34 Rossington Lane Leeds LS26 7AZ

09 JULY 13

01

The Light Unit 57 The Headrow Leeds LS1 8TZ

09/01/13

09/01/13

COUNTER TOPS 1

Omit laminated surface to counter tops (SEE GF – DWG NO. 920-191)

2

Add granite surface to counter tops.(BAND C- Regatta Color: White)

3

Omit white floor tiles in both restrooms excluding separate disabled W.C.

4

Add travertine floor tiles in both restrooms. Type: X1 by TC Tiles.

2800.00

--

--

4200.00

3000.00

--

I hereby state that a part of the kitchen and retail areas are open for business.

MALE & FEMALE RESTROOMS

5000.00

--

5 Wednesday 12th June 20 13

Friday 5th July 2013

5,800.00

9,200.00

920,000.00 -3400.00 916,600.00 X X

Architect’s Instruction Fig. 182: AI

ARCHITECTS INSTRUCTION

Partial Possession

Practical Possession

Fig. 183: Partial Possession

Fig. 184: Practical Completion

206


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AI / INTERIM, COMPLETION CERTIFICATES

Hirst Designs 282a Molyneux Pl W1H 5HS London

Hirst Designs 282a Molyneux Pl W1H 5HS London

Hirst Designs 282a Molyneux Pl W1H 5HS London

Hirst Designs 19 Grove Street Leeds LS11 9AX

Hirst Designs 19 Grove Street Leeds LS11 9AX

Hirst Designs 19 Grove Street Leeds LS11 9AX

001 01

DSL Contactors Ltd 34 Rossington Lane Leeds LS26 7AZ

28 MAY 13 28 MAY 13

The Light Unit 57 The Headrow Leeds LS1 8TZ

£920,000

09/01/13

001 01

DSL Contactors Ltd 34 Rossington Lane Leeds LS26 7AZ

09 JULY 13 09 JULY 13

The Light Unit 57 The Headrow Leeds LS1 8TZ

£920,000

09/01/13

001 01

DSL Contactors Ltd 34 Rossington Lane Leeds LS26 7AZ

HD02931D

The Light Unit 57 The Headrow Leeds LS1 8TZ 15 OCT 13

937,000.00 400,000.00

920,000.00

897,000.00

20,000.00

23,000.00

40,000.00

380,000.00

897,000.00

0.00

1

1

380,000.00

THREE HUNDERED AND EIGHTY THOUSAND POUNDS AND ZERO PENCE.

FIVE HUNDERED AND SEVENTEEN THOUSAND POUNDS AND ZERO PENCE.

-----------------------------------------------------------------------------------------

-----------------------------------------------------------------------------------------

20

FORTY THOUSAND POUNDS AND ZERO PENCE.

517,000.00

-------------------------------------------------------------------------------------------

20

20 76,000.00

20

380,000.00

103,400.00

20

456.000.00

8,000.00

20

48,000.00

620,400.00

20

Interim Certificate One

Interim Certificate Two

Fig. 179: Interim Certificate

Fig. 180: Interim Certificate

ARCHITECTS INSTRUCTION

Final Certificate Fig. 181: Final Certificate

207


Snagging List

208


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SNAGGING LIST / AND SCHEDULES.

SNAGGING  LIST  

SNAGGING  LIST   Project: Site Date:

Artisan Bakery Job Ref: 001 11-Jul-13

Issued to: Produced By:

The following items were noted at a site meeting as dated. On behalf of our client we would recommend the items list to rectified.

ITEM

ITEM DESCRIPTION

NO:

TO AREAS:

1

GF - ESPRESSO BAR

GROUND FLOOR Action By (Intial)

Faulty valve on fitted on SS sink. Replacement

Project: Site Date:

A. Smith JH/001

AS

Issued to: Produced By:

A. Smith JH/002

The following items were noted at a site meeting as dated. On behalf of our client we would recommend the items list to rectified.

FIRST FLOOR

Date to be

ITEM

ITEM DESCRIPTION

Action By

Date to be

Completed

NO:

TO AREAS:

(Intial)

Completed

1

FF - FEMALE WC A.S

07.04.13

A.S

TBC

A.S

09.04.13

A.S

10.04.13

A.S

09.04.13

Faulty foat on fitted cubicle D

07.04.13

Check required through bathrooms.

to be delived to site. (14-Jul-13) 2

Artisan Bakery Job Ref: 001 11-Jul-13

2

GF - COUNTER Damaged end panel on counter LHS

AS

FF - SHELVING (Unit 1,2 a) Unstable Shelving to be re-fitted

TBC

Replacement TBC 3

3

GF - STORE ROOM Faulty GU10 fitting above island to be

AS

09.04.13

rako lighting system as required by client.

ivestigated by electrican. 4 5

4

GF - STAIRCASE (TREADS 6 & 7) Slippery Tread - Requires extra coating.

AS

Contractor to signed in acceptance & confirmation.

X

AS

FF - DOOR DF17 Handle loose

10.04.13

5

GF - SEATING AREA 1 (Socket) Socket plate incorrect should be S.S. matching the rest.

FF - SWITCH GEAR Specialist to added additional settings on

FF - WINDOW WF4 Window doesn’t open freely. Contractor to advise.

09.04.13

Contractor to signed in acceptance & confirmation.

X

Date:

Date:

Fig. 185: GF Snagging List

SNAGGING LIST

Fig. 186: FF Snagging List

209


Tender Documents

210


282a Molyneux Pl Marylebone London W1H 5HS

282a Molyneux Pl Marylebone London W1H 5HS

282a Molyneux Pl Marylebone London W1H 5HS Attn: Mr. L. Johnson

Attn: Mr. A. Smith

Attn: Mr. A. Dobson

A1 Contractors Ltd 30 Granary Warf Leeds LS31 7AE

DSL Contractors Ltd 34 Rossington Lane Leeds LS26 7AZ

Dobson Contractors Ltd 30 Water Lane Leeds LS21 7AY

Managing Director

Managing Director

Managing Director

Thursday 21st February 2013

Monday 25st March 2013

Dear Mr. Dobson,

Dear Mr. Smith,

Dear Mr. Johnson,

Thursday 28th March 2013

Artisan Bakery, Job Ref: 001 With regards to the above, I am writing on behalf of my client Mr. J. Walter. I would like to give you the opportunity to quote this project based on the attached plans and documentations enclosed. I hope all the information is to your satisfactory. The closing date for tendering this job is: Monday 1 st April 2013 We look forward to hearing from you and if you have encounter any problems or questions please don’t hesitate to contact me.

Re: Artisan Bakery Quotation, Job Ref: 001

Re: Artisan Bakery, Job Ref: 001 I am delighted to inform you that your quotation has been selected and our client is comfortable with the figures that you had provided. We thank you for your quotation and we look forward to working with you soon. We will be in to touch to arrange a site meeting to discuss the project further.

Thank you for quotation. Unfortunately your quotation hasn’t been successful. The successful quote came from DLS Contractors at £540,000.00. Your quote came in overpriced to what our client was expecting. We once again thank you for you quotation and we hope that we will use you in future projects. We would appreciate that you could please return all documents to the above address.

Yours Sincerely, Yours Sincerely,

Yours Sincerely, Mr. Jon Hirst Creative Director Mr. Jon Hirst Creative Director

Mr. Jon Hirst Creative Director

.

Enc: Working Drawing Package (GA) GF & FF. and relevant specifications.

Tendering Covering Letter

Letter of Intent

Rejection Letter


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Vi c t o r i a Q ua rt e r L e e d s Victoria Quarter is the North’s premier location for fashion and lifestyle shopping. Housed in magnificent Grade 11* listed buildings and home to 73 of the world’s leading fashion and lifestyle brands, the centre is justifiably renowned as one of the country’s finest shopping destinations.

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End


HIRST DESIGNS INTERIOR CONSULTANTS 19 GROVE STREET / MIRFIELD / WF14 0QY / UNITED KINGDOM M. +44 (0) 77627 72824 T. +44 (0) 1924 689647

E. hirstdesigns@me.com ..W. hirstdesigns.blogspot.co.uk


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