Josh George Architectural Studio Portfolio by Josh George

ARCHITECTURE, TRADE + LIBERALISM ARCHITECTURE STUDIO 3 PORTFOLIO A TALE OF TWO CITIES

JOSH GEORGE

AC K N OW L E D G E M E N T S I would like to thank the tutors in and outside of the module for their input and time they have put aside to offer me tuition and support. I would also like to thank friends for keeping me sane, coffee for keeping me awake, Jai for always smiling and my mum for always listening to my consistent moaning.

PORTFOLIO CONTENTS INTRODUCTION BRISTOL FERRY TERMINAL AMSTERDAM PLACE ANALYSIS AMSTERDAM NATIONAL CENTRE OF TRADE

KEY THEMES TERMINUS AND TRADE UNDERSTANDING THE CITY AND CONTEXT THE DESIGN PALACE

BRISTOL, UNITED KINGDOM FERRY TERMINAL

TRADING Both cities exist because of their position on the water, they developed as trading cities due to their prominent position on banks of the river. They increased in population over time becoming the biggest ports in their own respective times.

LIBERALISM Bristol has a strong cultural identity grounded in local routes from centuries past. Bristol is well known for its music, street food, artwork, cycling tracks, secret doorways and stunning street scape and its eventful past.

AMSTERDAM, NETHERLANDS NATIONAL CENTRE OF TRADE

ART + DESIGN Art is a brilliant tool for self expression and a platform for liberal views and opinion. Bristol is well known for its street art and political artists such as Banksy where as Amsterdam is more associated with traditional art and Van Gogh. Either city has a distinct connection to art and design.

D UA L I T I E S Dualities dialogue between dualities is what creates the world around us. In both cities their traditional aesthetic in architecture is a key identifiable feature of each city and integration of contemporary design is something quite sublime.

BRISTOL LIBERALISM BRISTOL DOESNâ€™T BUZZ. IT THUMPS Bristol has a strong cultural identity grounded in local routes from centuries past. Bristol is well known for its music, street food, artwork, cycling tracks, secret doorways and stunning street scape and its eventful past.

AMSTERDAM LIBERALISM AMSTERDAM IS VIBRANT AND ALIVE Amsterdam is increasing in popularity as a tourist destination and has a deep culture of art, history, theatre, bars and restaurants. But is contemporary known for legalising prostitution and soft drugs which is responsible for attracting people from all over the world.

1200

1500

1750

B R I S TO L T R A D E H I S TO RY IMPORTS AND EXPORTS OF BRISTOL Bristol trade developed considerably from the 1200’s mainly trading with Scandinavia for timber and Europe for food and oil. Although the most successful era of Bristol trade, the 1700’s is also the most controversial through the involvement in the slave trade. 1900’s to present, Bristol trade started to decline as the harbour was too small for large cargo ships.

1900

1200

1500

1750

A M S T E R DA M T R A D E H I S TO RY IMPORTS AND EXPORTS OF AMSTERDAM Amsterdam developed as a collection of smaller settlements around the 1200’s and traded in mostly fish, cheese and beers. The city thrived from the 15-1600’s known as the golden age and where the most acclaimed trading ports in the world. However they also participated in the slave trade in the 1700’s as trade declined. Contemporary trade is mostly through the creative industries and smart technologies

1900

BRISTOL ART SCENE COLLAGE OF BRISTOL ARTWORK Art is a strong tool for expression in Bristol with many galleries and more informal street art + graffiti across the city. Art also has a voice, work of Banksy, Inkie and Nick Walker, that isnâ€™t restricted by politics or financial agendas and is common to act as a channel for social commentary and self expression.

AMSTERDAM DESIGN COLLAGE OF AMSTERDAM ARTWORK The Dutch have always been relativity progressive with avant-garde in design being very influential in many aspects of the industry. An architectural style called Amsterdam school evolved around a similar time as the De Stijl movement.

A3.1 TERMINUS AND TRADE

A3.1 TERMINUS AND TRADE BRISTOL FERRY TERMINAL

Liberalism is at the very core of Bristols national identity with a strong focus on emerging arts. Although Bristol has been built on trade there is a selective attitude towards the past as the city tends to remember and celebrate some aspects and would prefer to forget others. I sensed a theme of duality. I witnessed that dualities in architecture can be complimentary or conflicting, all of which helps to form the spaces around us and how we experiences them. Good examples around the site are the m-shed, the Arnolfini and the lloyds building. I explored the specific dualities of old + new, light + dark, movement + rest and showcased interactive art work that dealt with these topics. The overall resolution was 3 masses brought together by a contemporary colonnade that encouraged interaction with the project. The frames were considerately positioned captures views through them but also between them. This detaches users from there day to day activity as if looking through a picture.

THE SITE The site located at the end of Bristol floating harbour, next to the prince street bridge, has a strong sense of neglect despite its relevant positioning as it merely seems like a through route for commuters with less than 5% of users engaging with the area. The site has a large southern face open to the harbour side with the possibility for provoking views . The site is immediately overlooked by the Arnolfini, a art gallery in a old 19th century warehouse converted in the 1980's by David Chipperfeild.

PRINCIPLE SITE PHOTOGRAPH

MATERIALITY AND ADJACENCY

SITE CONTEXT

SUN PATH

GREENERY

E N V I R O N M E N TA L A NA LY S I S The site offers a open south face along the south point of the north harbour. The site sits right on the waters edge with a few trees that do not have TPOâ€™s

WATER

PRIMARY ACCESS ROUTES

VIEWS OUT

VIEWS IN

E X P E R I E N C E A NA LY S I S The site sits just off of a main commute route and could be good to utilise this to encourage interaction with the building. The are some good panoramic views out of the site and an opportunity to be viewed from many locations also.

KEY PUBLIC SPACE

M OV E M E N T + R E S T â€˜Whats the hurry modern man? To get to place B before I get to place A and make a connection in my mindâ€™ Robert Frost (2006)

MORNING ACTIVITY

EVENING ACTIVITY

ANALYSIS CONDUCTED AT 9AM

ANALYSIS CONDUCTED AT 5PM

The study in the morning revealed that most of the pedestrian traffic through the site was commuters passing through. This leads to a sense of neglect when passing through the site.

The evening mirrors the same qualities as the evening commuters head in the opposite direction. Therefore the site is used heavily but is no more than a pass through.

INITIAL RESPONSE NEW + OLD BUILDINGS The adjacent buildings all deal with the duality of time as there are conversions, renovations and contemporary interpretations of old architecture. My initial response identifies the main buildings around the site that deal with the old and the new.

1. PEROS BRIDGE

The bridge was at the centre of controversy over the bridges name. Peros bridge is named after a slave that lived and died in Bristol and prompted objection to the political gesturing.

2. LLOYDS BUILDING

The lloyds building represents the duality of new and old to present a neoclassical style building with a modern twist to denote the strength of classicism and the progressive aesthetic of high-tech.

4. ARNOLFINI

3. M-SHED

M-shed has been renovated into an educational building from a transit shed. The exterior has been renovated to reflect the previous warehouse while the interior carries a more contemporary aesthetic.

The Arnolfini, adjacent to the site, expresses the duality of new and old through contemporary renovation by David Chipperfeild. Rundbogenstil style which compliments each other well.

1. 3. 2.

ART EXHIBITION

TRADE

D UA L I T I E S

LIBERALISM

CONFLICTING PAST

OLD + NEW

Art is Bristols voice on political, social and financial agendas and how it expresses its liberal views. It is a medium of communication that is up for interpretation and is appealing to the liberal culture in Bristol.

Although Bristol made its wealth through trading, there is a selective attitude towards the past as the city chooses to remember and celebrates some historical events and would prefer to forget others.

The dialogue between dualities creates the language of how we perceive the world around us. There are many examples where new and old architecture combines and I think Bristol finds something sublime in this aesthetic.

A RC H I T E C T U R E D UA L I T I E S DAVID CHIPPERFEILD (2009) As architects we must both be part of and stand apart from the culture within which we operate. To be effective we must embrace power, but also distance ourselves; we must engage in dialogue and we must refuse to listen; we must explore the familiar and the unfamiliar; we must embrace history and reject it.

D A N F L AV I N UNTITLED Flavins work focused on light responded to the context of the setting and nothing more. This left an ambiguous attachment to his sculptures leaving the piece of work for self interpretations.

VERONICA JANSSENS YELLOWPINKBLUE The experiential installation is a colourful mist that envelopes the users and puts them in a state of suspension by obscuring the sense of depth. Focussing attention on the process of perception itself.

LIGHT + DARK INTERACTIVE EXHIBITIONS

Light and dark is the focus of all the exhibitions which is a visually experienced. To encourage a more memorable experience I want to use experiential exhibitions which explore dualities.

S O L I D + VO I D

LIGHT +

‘Solid and void relate to each other and can stand in a dialogue that begins to describe space’ Charles Sanders Pierece (1989)

DOMUS PAVILION

Volumetric space is the dialogue between the duality of solid and void. Solid in reference to mass and void to the space between. These dualities are fabricated and controlled by the architect to enhance how people experience space.

DAVID CHIPPERFIELD + PISTOLETTE

The building is pavilion playing with the idea of similarities and differences between architecture and art. The materiality and form denote this and tension is created by the deliberate misalignment separating the two forms. The two forms share a spatial quality that compliments each other through the conflicting forms.

‘I sense Light as the giver of all presences, and material as spent Light. What i

CHURCH OF LIGHT

Light and dark is a natural duality and can be experienced in nature as well as the built environment. Light and shadow can be used to create and define space as without light we couldn’t visually perceive space.

OLD + NEW

+ DARK

is made by Light casts a shadow, and the shadow belongs to Lightâ€™ Kahn(1989)

TADAO ANDO The reinforced concrete box is void of any ornamentation An impressive concrete structure that uses the dualities of light + dark, solid + void, stark and serene to emphasise spiritual qualities of the space. Andos approach changes the perception of a room through dark into light and light into space.

As an architect you design for the present with an awareness of the past for a future which is essentially unknown. Norman Foster (2008)

DOVECOT STUDIO Old and new are natural dualities in architecture as tastes and fashion evolve styles become outdated. The old will eventually be replaced by something new but can work together to provide something beautiful and contextual.

HAWORTH TOMPKINS The studio tackles, quite beautifully, the duality of new and old. The Cor-ten addition was constructed on site and lowered into the Victorian dovecot. The industrial centre reads as a separate structure but compliments the existing ruin through the colour of the rusted metal and the red brick walls.

A D J A C E N T S PA C E DENOTES SIMILARITIES

Adjacent spaces suggest direct opposition and denote similarities through the size, shape and positioning.

INTERLOCKING DENOTES A CONNECTION

Interlocking spaces, depending on arrangement suggests a direct connection between two differing functions.

S PA C E I N A S PA C E DENOTES HIERARCHY

Through surrounding a space with another space suggests a hierarchy between those two spaces.

S PA C E + L I G H T

S PA C E + T I M E

M OV E M E N T + R E S T

SKETCH IDEA 01

SKETCH IDEA 02

SKETCH IDEA 03

Focusing on the duality of light and dark to create a atmospheric space that emphasis these qualities through a double walled building that suggests a difference and tension through misalignment.

Drawn by the duality of old and the new, the new is the centre layer surrounded by the fading old. The size and shape of the building has been dictated by the regulating lines of Arnolfini

Given the heavy commuter usage of the site I could explore ideas of providing an opportunity to take a break from the repetitive nature of the day to day life of commuters.

PA N O R A M I C S K E T C H HIGHLIGHTING KEY BUILDINGS The site offers a low panoramic view of the harbour side which was the trading point of Bristols wealth. I would like to draw attention to buildings that deal with the dualities of the new and old to encourage learning from the past.

USER ACTIVITY UTILISING VIEWS I defined the people that interact with the site were defined into morning commuters, evening commuters and space users. I then drew lines from the best place to obtain particular views from the site to significant Bristolian landmarks.

C R E AT I N G A H I E R A R C H Y POSITIONING FRAMES I created a hierarchy of the best views along the route. This will dictate the specific position of frames as well as there sizes in response to the importance of that particular view. The height of the frames consider key regulating liens from the Arnolfini.

SPECIFIC VIEWS VIEWS THROUGH FRAMES The perspective sketches show the views obtained along the primary pedestrian routes through the site. The hierarchy dictated by size but also allows the user to create their own views from alternative perspectives.

A DA P T E D I T E R AT I O N MOVING TO THE WATER A floating platoon would support an accessible ramp down to the water level to board the ferry. The ramp set out using the geometry of the building to dictate the scale while complying to Part M.

A DA P T E D I T E R AT I O N CONNECTING THE FRAMES In an attempt to make create some continuity between the frames and the building, I decided to create a feature decline into the water to provide a place for the public to engage with the site.

CHANNELLING

CONFLICTING

CONNECTING

I N I T I A L I T E R AT I O N

A DA P T E D I T E R AT I O N

F I NA L I T E R AT I O N

ATTRACTING USERS

FRAMING VIEWS

INTEGRATING USERS AND VIEWS

The buildings form has been regulated by the facade of the Arnolfini and sat primarily of the main commuter route. The frames created a false perspective and funnelled activity towards the building. This design was flawed as it neglected and turned its back to half the site and although it referenced views it didnâ€™t objectively frame them.

In the next iteration I tried to create a space which can be more interactive with users and passers because views are an unavoidable way of experiencing space. Views are created through the frames and the spaces between them. Access to boat level is also more achievable by ramp. But there is disconnection between the two parts.

Splitting the 3 separate functions along the front of the site allows the frames to collect the units together as a whole in the form of a colonnade. This offers snippet views of the other side of the harbour while integrating the frames with the buildings further. Access to the water has been integrated into the landscape strategy.

CONFLICTING TO C O M P L I M E N TA RY OLD + NEW The old and the new are clearly represented in architecture through the aesthetics which creates tension between the two styles. However, presented in a metaphorical sense the tension is more complimentary and has been denoted meaning by the architect but is up for interpretation by anyone.

EXTENDING THE THRESHOLD UNITING 3 MASSES The plan shows how the frame structure provides a permeable envelope that unities the 3 small buildings into a cohesive whole in tern extending the threshold more into the public space. This structure visually denotes classical architecture through its rhythm and stoa aesthetic.

NORTH ELEVATION

SOUTH ELEVATION

WEST ELEVATION

SECTION 01

RIDGE DETAIL

FOOTING DETAIL

DETAIL SECTION

R I D G E D E TA I L

F O O T I N G D E TA I L

AXONOMETRIC DETAIL

Welded Black Steel, Brushed Metal Finish

Damp proof Membrane

150mm Celotex Insulation Board

100mm Rigid Insulation

150mm X 150 mm Box Section Steel, Welded 50mm Timber Battens

50mm Celotex Insulation Board 50mm Timber Battens

9.5mm Tapered Edge Plasterboard

300mm Trench Foundation 50mm Concrete Screed Trench Drain

150mm X 150mm Box Section 150mm Earthwool Insulation

SMOOTH CONCRETE The concrete is representative of the old through its materiality as it wraps around the new creating a link between the separate buildings. Expressing itself in the form of a colonnade it takes the form of a more contemporary stoa which has denotations to trade. The position and size has been influenced by the rhythm of the front facade of the Arnolfini.

BLACK BRUSHED ALUMINIUM Contrasting to the concrete frames the brushed black metal cladding holistically wraps around the building representative of the new. The metal is welded on site which creates a distress in the material and acts like a hull of a ship providing a natural waterproofing. The gutter is integrated into the design and hidden amongst the metal and creates a virtually seamless whole keeping a sleek aesthetic despite the cosmetics.

BOX STEEL FRAME The steel frame is welded immediately to the black brushed steel as there is no need for damp proof layers as the metal cladding box isnâ€™t permeable. This allows the form to stay rigid as it is lowered into position and acts as the primary structural element of the building.

TIMBER FRAME The timber frame will be constructed on site in preparation for the steel frame to be lowered and eventually fixed to. There will be insulation between the two layers to prevent cold bridging at the more vulnerable points and assist in helping the building retain a consistent temperature.

SERVICE

The service building accommodates a ticket booth with small private staff room next to a public W/C which is accessed from the outside.

EXHIBITION

Exhibition is the central space between tickets and seating encouraging interaction of the experiential artistic exhibitions dealing with dualities.

SEATING

The seating area offers glimpse views through small windows overlooking the harbour side and provides a space for wait and contemplation.

D AY E N V I R O N M E N TA L Throughout the day the buildings are relatively shaded from the high summer sun keeping the building cool while allowing the concrete, in winter, to absorb the lower sun light as heat. The buildings are also shallow enough to be cross ventilated as the rule of thumb for successful cross venting is the width being no more than 5 times the ceiling height.

NIGHT E N V I RO N M E N TA L

Concrete has a high heat storage capacity and has been exposed to solar gain throughout the day. Therefore the concrete ground has absorbed a fair amount of heat, keeping it cool during the day, and then warmer in the evenings when the temperature decreases.

INTERACTIVE FRAMES ENCOURAGING PARTICIPATION Frames can detach people from the surrounding spaces as if looking at a painting. This is not necessary a bad thing and can distract and entertain commuters on their journey. The beautiful thing is that there are optimum positions to obtain set views but along the journey different views are of focus through the frames but also between them.

TERMINUS AND TRADE

AMSTERDAM PLACE ANALYSIS

AMSTERDAM

ROTTERDAM

BRISTOL PEDESTRIAN

BICYCLE

WATER

C I T Y C O M PA R I S O N TRANSPORT ACTIVITY The two Dutch cities are internationally recognised for their cycling activity where as Bristol is still evolving but with schemes such as Yo bikes it is developing fast. Both Dutch cities utilise the water for commerce and transportation but Amsterdam has more denotations to water activity for tourists. Bristol, however, utilises the water for transport and tourism but no longer commerce as the dock has been moved to Avonmouth on the estuary.

INITIAL RESPONSE INFRASTRUCTURE COMPLEXITY Amsterdam as a city, on the day of my arrival seemed to be quite complex infrastructurally with a multitude of different types of transportation available. The system worked quite well as there seemed to be an adopted unofficial hierarchy of transportation in the streets with bicycles and trams being at the top followed by pedestrians and subsequently cars.

AMSTERDAM FILM CYCLING, A BY-PRODUCT OF LIBERALISM Amsterdam is internationally recognised for being on of the most cycle friendly cities in the world and we explored how the city has been adapted to cyclists in a progressive nature. There seemed to be a hierarchy of travel, with cyclists and trams at the top and cars and pedestrians at the bottom.

S T R AT E G I C S T U DY 0 1 KEY URBAN LOCATIONS The route planned was through the city was determined via selecting key urban locations relating to areas of popular interest. We then linked these routes via a selection of formal and informal routes passing through areas of heightened tourism + commerce and also areas of a more private nature such as semi private gardens + discreet picturesque alleyways. This would give a diverse result in understanding of place as we experienced the facade of tourism and the reality of the more intermediate private areas.

S T R AT E G I C S T U DY 0 2 CONNECTING SIGNIFICANT LANDMARKS To avoid the pedantry of selecting a specific trait or rule on which to base the phsycogeographic study on I simply decided to draw a line which passed through the tourism centre to explore the busier parts of Amsterdam. I decided to finish on a building of architectural merit which wasn't quintessentially Dutch, therefore selecting Renzo Pianos NEMO Museum. The Decided path denoted by the bold white line and the actual route taken shown via the thinner green

S T R AT E G I C S T U DY 0 1 CONCLUSION Moving deeper into the centre of the city, the amount of people increased but what surprised me the most was the more the city held on to the traditional aesthetic in the centre. As around the waters edge their is experimental architecture where as the centre seems to hold on to the traditional style for tourism more than heritage.

NIEUWMARKT

S T R AT E G I C S T U DY 0 2 CONCLUSION The main streets around the key selected locations were bustling with predominantly tourists as Amsterdam seemed to be suffering from the same place as Venice as it seemed to be a place orientated around tourism and commerce as locals seemed to only work around these locations opposed to live.

NEMO MUSEUM

NEMO MUSEUM BUILDING ANALYSIS 01 The Nemo Museum is a conclusive feature of the Ooster dock and has been designed the internationally regarded architect Renzo Piano. The shape is very distinctive and has been designed to resemble a fish piecing the water of the lake. The building is a large educational building focused on technology which gets denoted subtly in its aesthetic.

IJ TUNNEL The buildings is located on top of the entrance to the IJ tunnel which resembles boarding a ferry and shows the architectural consideration and thinking behind the scheme is very comprehensive.

RIJKSMUSEUM BUILDING ANALYSIS 02 The Rijknsmuesum is the most popular building in the Netherlands attracting over 2 million visitors a year. The original building was designed in 1885 and was renovated by Cruz y Ortiz and have dealt with the dualities of old and new in a integrated matter fusing the two silently and blurring the lines through form and materiality.

OLD + NEW The relationship between the old and the new is significant in this building as the new components has been dictated by the regulating lines of the original building. Architecturally the hung ceiling decoration acts as a court yard the used to sit in its place which functionally dampening sound and reflecting light.

STEDELIJK MUSEUM BUILDING ANALYSIS 03 The Stedelijk museum sits at the end of the museum district next to the Van Gogh and Rijksmuseum which all deal with dualities of new + old in different ways. The Stedelijk museum is recognised by the contemporary addition that juxtaposes the traditional building.

G A L L E RY The gallery spaces are generous and open so that pieces on the wall can be viewed from all angles. There were some instances of interactive media. The gallery was typically white to reflect light diffusely.

188

ARCHITECTURE PRACTICES

181

PHOTOGRAPHY COMPANIES

144

ART STUDIOS

170

PHOTOGRAPHY COMPANIES

CRAFT WORKSHOP STUDIOS

FASHION STUDIOS

PLASTIC ARTS STUDIOS

POST-PRODUCTION STUDIOS

FILM CLUBS + STUDIOS

WEB

178

DEVELOPMENT BUSINESSES

FURNITURE RESTORATION BUSINESSES

DESIGN INDUSTRIES The Dutch hold design in high regard and are considered very progressive in art, fashion and architecture and have hundreds of studios, workshops and business scattered all over the city.

P L A C E A NA LY S I S CONCLUSION SUBJECTIVE MAP OF AMSTERDAM Inspired by the situationists interpretation of Paris and Roland Barthes' Eiffel tower as they both analyse cities on the urban scale. I have separated central Amsterdam into subjective districts, not of physicality but of my human experience of the city. The intimacy of spaces, the fragmentation and ambiance.

D E S I G N PA L A C E AMSTERDAM NATIONAL CENTRE OF TRADE

The Design Palace, considers the independence of design industries. It also recognises the contemporary trend for collaboration and the benefits that come with this. The palace allows access to the general pool of information shared by design professions. While breaking down interdisciplinary barriers and encouraging collaboration and peer assessment to support their work and think outside the box. The Palace presents itself as a cultural and business hub. Thus acting as a catalyst for the design process of Amsterdamâ€™s design-related industries. The Design Palace achieves this through a collection of formal and informal spaces. Which support users throughout their projects. The palace utilises the fluidity of the design process to inform the relationships of spaces. The Palace blurs the lines between disciplines. It has a focus on individual and group skill sets rather than the disciplines holistically. The High-tech framework was designed for adaptability and changeability of the functional requirements of the industry. Providing a framework like this supplies a margin to help plan for the unpredictable progression of these industries.

DIJKSGRACHT Site one as a site is very informal and is being used as a multi use space that feel secluded but open to the public. A main railway line passes behind which will dictate some design decisions but also disconnects it from the buildings relating to commerce behind and disconnected further by IJ lake between site 01 and the city centre.

PRINCIPLE SITE PHOTOGRAPH

MATERIALITY AND ADJACENCY

THE SITE AND THE CITY

RESIDENTIAL From talking to residents, most of them live outside of the centre as tourism has pushed house prices to rise and become commercialised.

TUNNEL VENTS

IJ LAKE

Tunnel vents are an interesting form and fulfil a functional service of venting the vehicle tunnel.

The lake creates a feeling of disconnect from the tourist city centre and the locals of Amsterdam.

IJ LAKE

FERRY TERMINAL

HOTEL + COMMERCE

The lake creates a feeling of disconnect from the tourist city centre and the locals of Amsterdam.

The ferry terminal is the most common , and free, form of transport for commuters from the North outside the city centre

The hotel and other buildings of commerce and business over look the site

SITE 01

OOSTERDOK The Oosterdok offers an opportunity to set up a ferry terminal as a form of alternative transport from the city centre which makes the site more accessible.

CULTURE + TOURISM The Nemo museum attracts thousands of visitors a year and is directly opposite the site and presents an opportunity to attract users to the site.

DIJKSGRACHT Dijksgracht is the name of the street which runs through the site and is named after the re-purposed dike that was integral to the cities protection from the on going battle with the sea. The Netherlands are well known for being mostly below see level and needs over a billion pounds every year to maintain the current flood defence strategy. Its interesting how such a integral part of the city has simply blurred into the back ground of day to day life. This sums up the feeling I got in general from the site as a forgotten corner of the city. HISTORICAL

NOISE

INCREASE MASS

SECOND LAYER

NOISE PRECEDENCE ALEXANDRA ROAD ESTATE A good example of dealing with the immediate impact of sound is Alexandra Road Estate in Camden. The site is adjacent to a railway line that runs parallel to the boundary line. The building chamfers back shielding the frontage from sound but butting mass up against the source. The foundation also sits on rubber pads to dampen vibration from passing trains.

S I T E WA L K S K E T C H C O L L A G E Experiencing the site first hand it is dominated by a main axis that runs east to west with a abundance of smaller undefined informal routes which connect the spaces through mud tracks and desire paths over grass. The axis traced the space between the water and the dike which are the two main features that give the site 01 a physical disconnect with the mainland Amsterdam.

The site drawings show the diverse typologies on the site with a bar, climbing centre, allotments and a cafe. There is a primary route which passes by buildings which are connected through an abundance of small green spaces and informal secondary routes.

S I T E A NA LY S I S AMSTERDAM The site is at low level surrounded by large buildings, some with a significant architectural identity. Therefore to encourage engagement the site needs to be visible and provide something that the local area is missing in the form of green spaces.

Pedestrians

Cyclists

A C T I V I T Y A NA LY S I S FIRST HAND DATA

The site is at low level surrounded by large buildings, some with a significant architectural identity. Therefore to encourage engagement the site needs to be visible and provide something that the local area is missing in the form of green spaces.

Trains

Piet h

einka

Dijks

Lake

grac

ht Ra

Site

Oos

terd

ilway

line

L AY E R S O F T H E S I T E The Oosterdok is home to a variety of buildings which draw a similar type of user. These spots are key fro tourism and sitting in the centre of these is site 01 with the main connecting factor being the water of which they neighbour. 3 of these are visible from site 01 and the water opens the possibility to create more than a visual connection in the form of a ferry or boat tour.

SIGNIFICANT LOCAL BUILDINGS The Oosterdok is home to a variety of buildings which draw a similar type of user. These spots are key fro tourism and sitting in the centre of these is site 01 with the main connecting factor being the water of which they neighbour. 3 of these are visible from site 01 and the water opens the possibility to create more than a visual connection in the form of a ferry or boat tour.

PA N O R A M I C LOCAL BUILDINGS The site sits low at water level with a flat panoramic view of the city on the opposite bank. This was explored in the speed models through either capturing the views by setting low buildings to the site boundary and higher buildings at the back. Or by establishing a strong identity as not only does site 01 look out on to these spaces but those spaces back look on to site 01 and this can be used to identify the site and self promote it.

Primary paths

Soft space

Water + shade

Hard material

Ground figure

E X P L O D E D A NA LY S I S

DISCONNECT FROM THE CENTRE The site has a feeling of disconnect from the city centre as the tourist + civic ambiance of Amsterdam isnâ€™t continued here. This disconnection is caused by the open water to the south and the railway to the north essentially turning the site into an island allowing it to have its own independent culture.

INDEPENDENT CULTURE The site is unlike anything I have witnessed in Amsterdam. It portrayed itself with a bizarre collection of buildings connected by one axial road from one side to the other. The buildings were laced together by a handful of secondary routes with greenery and odd technologies giving the site a bohemian atmosphere

INITIAL SITE RESPONSE

ARCHITECTURAL CONTEXT Due to the sites isolation there isnâ€™t much context only large buildings such as the commercial blocks behind and the educational buildings to the east. The most architecturally significant is the Nemo museum by Renzo Piano which sits directly opposite to the site and how this is dealt with will contextualise my building into the city.

COMPETING The Nemo is arguable the most notable architectural contemporary building and is the focal conclusion point of the central old town therefore receiving a lot of attention from architect enthusiasts but also tourist but admiration from residents. The building is directly opposite the site and points up and over the site. My response could work against Renzo Pianos Museum in form and physically create a visual conflict through material and form which can create tension between the two buildings.

IGNORING Contrastingly since the building has such architectural merit and has been designed by one of the western worlds most notable architects competing with it for attention would only result in an over shadowing by a superior design. Therefore instead of creating a conflict my scheme can be designed in a independent medium. Therefore instead of opposing the building I could design the national centre for trade as its own independent entity. This means my building will respond to it's own context and create it's own architectural story and driving force.

COMPLIMENTING Differently again I could peruse the opposite of conflicting and opposing Renzo Pianos Museum I could work within the same influential factors and considerations. Therefore using the building as inspiration and responding to the specific site context to diffuse any potential tension crated by creating a potentially large building opposite it. In doing so instead of users considering a confrontation and competition for attention My building responds contextually through it's form or other architectural consideration.

PA R I S EXPOSITION 1937 COMPETING PRECEDENCE

The international exhibition in Paris in 1937 is an excellent example of how structures present themselves in a conflicting style as pre war tension between Nazi Germany and soviet Russia. The exhibition turned into a competition of strength and status. Nazi Germany portrayed there strength and pride through the classical style in a monolithic form while soviet Russia also opting for a monolithic form to denote physical strength with a statue of workers to resemble power of the every man.

STEDELIJK MUSEUM 1937

IGNORING PRECEDENCE

The Museum by Benthem Crouwel Architects is a contemporary additive building to the original 19th century building. Designed as a new wing for the museum the buildings carry opposing aesthetics. The 19th century building carrying a traditional aesthetic with the addition presenting itself in a postmodern style this created a divide within the architectural community and general public either forming disliking or taking a liking to it. The contemporary addition simply responds contextually to the neighbouring buildings height but apart from that is its own individual piece of architecture.

PA N C R A S S QUA R E

COMPLIMENTING PRECEDENCE

Pancras square is a contemporary public square at Kings Cross in London. Each building has been designed by a separate architecture firm. Each building has an office archetype and responds to the local context and the formality of the traditional aesthetic of 18th century London which echoes a time of economic success and expansion. The two examples above show this in different ways but are complimentary in the way that they work together through strong horizontal and vertical members.

NEMO CONCLUSION IGNORE + SUBTLY COMPLIMENT Given the sites independent and informal atmosphere I think that this opens the door to design completely independent fro the NEMO museum but to also stay subtly contextually relevant by referencing through materiality.

NAKED AMSTERDAM SUBJECTIVE FRAGMENTATION The Situationists inspired my own map of Amsterdam which shows fragmentation on the urban scale. The map has been divided into fragments that I personally felt were different from one another using atmosphere and intimacy of spaces as a form of measure.

NEW BABYLON

S PA T I A L C I T Y

WA L K I N G C I T Y

CONSTANT NIEUWENHUYS

YONA FRIEDMAN

ARCHIGRAM: RON HERRON

Nieuwenhuys ideas of overcoming fragmentation of an urban scale via providing an anticapatalist scheme which draws heavily on a physical framework to connect places and to be adapted how people want.

Friedmans ideas are similar to that of Nieuwenhuys as mega structures spanned the sky and were customisable and flexible. This allows residents work together to customise and adapt their homes and communities cohesively.

Another extreme idea, presented by Herron from Archigram was the walking city. This was essentially a mega-structure that roamed around the earth moving to wherever the structuresâ€™ resources or manufacturing abilities were needed.

CONVENTIONAL DEVELOPMENT

PROPOSED MEGA-STRUCTURE

CUSTOMISABLE PARAMETERS

SUCCESSFUL COMMUNITY

Housing is usually produced in a repetitive nature for reasons relating to finance and ease of construction.

Provision of a mega-structure which can unite separated homes into a cohesive unit in a atopian formant.

Set specific rules to abide by so that homes can be flexible and customisable on the scale of the house, community and city.

In allowing residents to customise their own communities, social differences evolve in the districts and creates their own identities.

V I L L E S PA T I A L Ville Spatial is yona fridmans solution to overcoming social fragmentation. The diagrams above shows Friedmans process of creating a cohesive city via a mega-structure that spans over parts of a city.

Specific Discipline

Design Disciplines

Specific Discipline Specific Discipline General Info Specific Discipline

Specific Discipline Specific Discipline

SCATTERED DISCIPLINES It is traditional for design disciplines to work independently from one another. I believe that there is a pool of general information they can all learn from.

Individuals skill sets

INDIVIDUAL SKILL SETS Disciplines are made up of individuals with a particular set of skills and some disciplines share individuals with same or similar skill set.

MEANINGLESS COLLECTIVE Working together collaboratively could only be beneficial. Learning from one another and contributing to each others work. Without order this is meaningless.

S E T O F RU L E S Using adapted principles of Friedmans ville spatial, I created the process of how the Design Palace will achieve a collaborative working environment.

CONSIDERED ARRANGEMENT Arranging spaces into function opposed to discipline over a series of formal and informal work spaces will result in a successful collaborative environment.

NAT I O NA L C E N T R E O F T R A D E B R I E F

CONTEXT:

Although thriving, the design situation in Amsterdam is fragmented as it is traditional for the creative industries to work independently. It is a contemporary trend to collaborate and is proven to boost outputs. This is happening on a small scale across Europe, a applicable example being: WAAG society and the thinking hut. Due to budget cuts of 22% to the design industries, young creative minds are struggling with finances and facilities to support their passion.

WHAT:

I want to provide a place to support the local design industry by providing them a hub to engage with each other on an individual or groups basis in a variety of informal and formal spaces. The hub should act as a catalyst for creativity as I believe each design related occupation can learn or be inspired by each other.

HOW:

I am proposing a design district that assists through out all the stages of the creative process for Amsterdamâ€™s primary design industries, from conception to completion. The spaces should be flexible enough to cater for various design output. The is 3 levels of membership. The first is public access which is free to roam around the facility. The second is a hot members pass which grants access to the library, commuters suits, lectures and workshops. Finally the full membership grants access to private booking rooms for meetings and clients, also gallery and exhibition space, bookable studio work spaces, feedback sessions, photography rooms.

DUBAI DESIGN DISTRICT Foster + Partners The structural elements of the buildings that unite over tiered floors across a collection of streets and entertainment squares.

2 1 1 0 B AY D E

Studio One Elev

The development draws from its context heavily and promotes a previo

VELOPMENT

ven - Los Angeles

ous industrial aesthetic which holistically collects the buildings it envelopes.

6AM ARTS DISTRICT Herzog and de Meuron - Los Angeles

Sitting beneath residential blocks the art district offers a collection of commercial stores that other a tiered experience in a informal manor.

SPEED MODELLING AIMS + GOALS

The speed modelling tasks at two scales encouraged me to make quick decisions in how to respond to the sites immediate context but also how the site sits within the cityscape. As follows are the 6 most relevant iterations that assisted my scheme.

SPEED MODEL 01

SPEED MODEL 02

SPEED MODEL 03

RECONNECTING THE SITE

IMPACT OF DEVELOPMENT

ATTRACTION

The first iteration tackles the sites disconnection created by the water and the railway line. This explores the idea of reconnecting the site to the city centre via a possibility of two options to the south and an option to the north forming a bridge to the residential district.

This iteration shows the impact of the site as it has remained undeveloped over the last decade. Therefore any form of development will have an visual impact mostly on the local area but also from key viewing locations and from building which over look the area.

SPEED MODEL 04

SPEED MODEL 05

SPEED MODEL 06

RECONNECTING THE SITE

IMPACT OF DEVELOPMENT

INTEGRATING USERS AND VIEWS

SPEED MODELLING CONCLUSION The site is at low level surrounded by large buildings, some with a significant architectural identity. Therefore to encourage engagement the site needs to be visible and provide something that the local area is missing in the form of green spaces.

MASSING ITERATION 01

TIERED ARRANGEMENT This arrangement provides mass against the railway to dampen noise and obtain higher views to the North of Amsterdam. It also encourages low panoramic views towards the centre while creating two main avenues with an inward focus

PUBLIC SQUARE A public square is created by areas void of building and will act as a gathering point, events area and entrance for visitors. It plays out a similar role to that of a Greek agora while giving the visitor an impression of the design.

DIFFERENT LEVELS Learning from the precedents, A cohesive, social and collaborative environment is achieved across different levels by secondary routes which link these levels over the main axis which stay true to the circulation interpreted from the site analysis.

MASSING ITERATION 02

TIERED ARRANGEMENT Having 2 masses instead of 3 allows one main axis to be maintained like the current site. A larger mass will still provide views to the North identifying it from the residential area not just the centre.

PUBLIC SQUARE The public square in this instance has been used as more of an overflow like a opening in a bazaar market with work and people over spilling from neighbouring buildings.

DIFFERENT LEVELS Opening the building to access from the water increases the amount of ways to get to the site and with it teird down towards the south allows light deeper into the plan through the open street but also allows panoramic views towards the city centre and create visual connections over the layers.

Specific Discipline

Design Disciplines

Specific Discipline Specific Discipline General Info Specific Discipline

Specific Discipline Specific Discipline

SCATTERED DISCIPLINES

Individuals skill sets

INDIVIDUAL SKILL SETS

MEANINGLESS COLLECTIVE

CONSIDERED ARRANGEMENT

VERTICAL ARRANGEMENT A vertical arrangement would be a poor response to the site as it will compete architecturally with the Nemo. But functionally would create segregation via floor the levels.

OVERLAP ARRANGEMENT A lowerise structure with areas of formal and informal mutuality to encourage collaboration. A sharing of spaces with similar functions to blur the lines between the disciplines.

CONSIDERED ARRANGMENT A framework can be used to support the changing nature of the disciplines and achieve flexibility via technical means. This would unit the buildings and rooms by the structural skeleton.

Lib rar

uter

ctu re

Com p

Studios

y Librar

suites

ter

u mp

it su

Offic

Exhibition

Shop

Exhibition Galler

THE MODERN DESIGN PROCESS Office

DESIGN PROCESS PROCESS + ACCOMMODATION REQUIREMENTS

ios

d Stu

ops

ites

r su

ute

ce Offi

itio

k sh Wor

Studios

Ex hib

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To achieve a successful working environment that supports the relevant design industries I required an understanding of the contemporary design process. I had to define the process into specific stages. Thus understanding the similarities and differences of the functional requirements of each stage. The diagram above shows the 6 main stages of design and the supporting accommodation.

Studios

F L E X I B L E S PA C E The design industries all have different functional requirements. Businesses will grow and shrink, spatial requirements will increase and reduce. The space will need to keep up with the changes through adaptable, changeable and flexible spaces.

C L E A R C I R C U L AT I O N The navigation through the building would need to aid and support the design process and have a natural flow to the next progressive stage of design. This can be achieved through separate materiality for circulation or an axial route.

INFORMAL AND FORMAL The building will need spaces to functional support the requirements of the industry, offices, studios and exhibitions. But there will also be more informal opportunities to engage with like minded groups or individuals in the form of, galleries, sofas and casual areas and an public auditorium.

F I R S T I T E R AT I O N My first iteration drew inspiration from the structuralism movement that relied on physical changeability of space. A rigid framework was provided and users in-filled space to meet the functions of a specific task. It was the overall skeleton that unites the process. However, changing entire rooms to meet functional requirements may not be functional and preventing moisture and cold ingress will be hard to maintain.

THEORETICAL PRECEDENCE

ADAPTABILITY AN

F U N PA L A C E

C I T Y I N S PA C E

CEDRIC PRICE

RICARDO BOFILL

The building was designed to follow a set of rules dictated by the golden ratio. It consists of physically changeable space as walls can be demounted and changed by 2 people. It was designed to constructively support the educational process over a series of formal teaching areas and informal social areas.

The city in space, although being a housing complex, was conceived to as ‘complex and flexible’. It was essentially a construction system of light prefabricated parts to create a community. In following a set of rules the complex could expand and contract to meet specific functions.

FREE UNIVERSITY BERLIN CANDILIS, JOSIC, WOODS AND SCHIEDHELM, BERLIN The building was designed to follow a set of rules dictated by the golden ratio. It consists of physically changeable space as walls can be demounted and changed by 2 people. It was designed to constructively support the educational process over a series of formal teaching areas and informal social areas.

ND FLEXIBILITY

STRUCTURAL PRECEDENCE

POMPIDOU CENTRE

S A I N S BU RY C E N T R E

L E F R E S N OY

RICHARD ROGERS + RENZO PIANO, PARIS

FOSTER + PARTNERS, NORWICH

BERNARD TSCHUMI , TOURCOING

The Pomidou Centre is a real life as close to a real life production of Cedric Prices Fun Palaces that architects have achieved. Behind the industrial framework is a 7500m2 of open floor plan for display, work and other activities. This space can be reinterpreted and reorganised at will to suit a particular scenario.

The large expressive framework allows incredible span over a completely open space for the visual arts gallery contained inside the building. The enveloping structure adds a holistic feel to the open flexible gallery space. The expressed structure gives the building a progressive technological aesthetic spite it being designed in 1974.

The enveloping structure collects 3 buildings together under one cohesive structure with suspended walkways hung from the roof. The building carries an industrial aesthetic which promotes a high tech aesthetic but also aids the building technically as well as architecturally. Tensile members can be thinner than compressive members.

CONCEPT MODEL SUSPENDED ENVIRONMENT Learning from the first iteration. A mo veable panels and walls are only flexible to a certain extent and to maintain the flow of the design process would be near impossible. With suspended open plan platforms flexibility is more subtle and a more collaborative atmosphere is created.

UNITING STRUCTURE

SEPARATE CIRCULATION

SKETCH SECTION SUSPENDED ENVIRONMENT Opting for a framed structure, in a fun palace manor, unite the internal environment as the open atmosphere is encased by the skeleton frame and the facade.

SUSPENDED PRIVATE BOXES

CREATE A BRIEF

RESEARCH

COLLABORATE

PROTOTYPE

CRITIC

PROCESS TIME

REITERATION

FINAL PRODUCT

DESIGN PROCESS RULES FOR ADJACENCY Design is not a rigid process. Inputs and outputs vary, spatial requirements change, businesses grow and shrink. Therefore the building will not only need to support unpredictable change but support the evolving disciplines. But also keep the fluidity of the process. The diagram on the next page shows the set of rules of how the building should be structured in terms of adjacency. The overlap between the different stages of design is intentional. It is the blurring of the lines at these stages that will allow for the spaces to change while retaining the fluidity. Through Sharing of specific accommodation at different stages of design allows for this to happen. An example being studio spaces that are used for design work and critic. Attaching an ambiguous definition to what a space is that allows the creativity of the user to define the space for their task

L I B R A RY

COMPUTERS

OFFICE

G A L L E RY

STUDIOS

EXHIBITION LECTURE

ADJACENCY 01 SPATIAL REQUIREMENTS I wanted a natural flow between linked space to allow progression through the design process to be as efficient as possible with the main spaces being the workshops and studios which provide the link between secondary spaces

WO R K S H O P S

LIBRARY

STUDIO + WORKSHOP

OFFICE + STUDIO

GALLERY + EXHIBITION

The library will be a combination of intimate and open spaces depending on the function. An example being discreet reading corners or open working areas which require more natural light as this doesnâ€™t damage the books.

Studio and workshops will be hung and open space to encourage collaboration and create a visual relationship between the floor plates. The studios will have reflected light as this is the preferred lighting for design work.

There will be group work stations which are isolated on their own platforms but still open atmosphere. However there will be hung flexible use pods for office use and meetings which offer a selfcontained environment for more private occasions.

I wanted a natural flow between linked space to allow progression through the design process to be as efficient as possible with the main spaces being the workshops and studios which provide the link between secondary spaces

FUNCTION DEVELOPMENT

INPUTS AND OUTPUTS DISCIPLINE DIAGRAM The above diagram shows the inputs and requirements of each industry and the outputs that they produce. This has enabled me to understand the requirements of each discipline more and define a more comprehensive accommodation list.

BOOK

PA I N T I N G S T U D I O S MEETING + OFFICE

G A L L E RY + E X H I B I T I O N

OFFICE

D R AW I N G STUDIO

BOOK S TA C K S

C O M P U T E R + D R AW S T U D I O S

MEETING + BRIEFING

BOOK S TA C K S MEETING + BRIEFING

PHOTO STUDIO

C A S UA L P R E S E N TAT I O N

DARK ROOM

G RO U P WO R K

COMPUTER STUDIOS

LECTURE

HOT DESK P R E S E N TAT I O N

MEETING + BRIEFING

L I G H T WO R K DESKS

C A S UA L

S E AT I N G

WO R K S H O P S

PRINTING

STORAGE EXHIBITION

L I B R A RY ENTRANCE

ENTRANCE

AUDITORIUM

ADJACENCY UPDATED ADJACENCY The diagram above shows a more comprehensive accommodation adjacency list which is orientated more around supporting the process of design.

FACADE DEVELOPMENT 01

FACADE DEVELOPMENT 02

FLAT FACADE LOUVRES

DYNAMIC FACADE LOUVRES

The double skin facade will be faced with a layer of auxiliary structure supporting a mesh facade which will respond contextually to the position of the sun to control light level in the building. The material will be a mesh which will diffuse light into the building as this is the preferred light for designing.

The flat facade seemed to not express the contents of the building particularly well therefore setting the auxiliary structure on varying angles gives the mesh a more fluid aesthetic and denoting a more artistic purpose the building.

CONCEPT MODEL STRUCTURE TO SUPPORT DESIGN PROCESS This model shows that structure unites the internal environment and denotes a framed structure with a fluid motion which resembles the design process.

CONNECTION TO THE CITY Till (2009) â€œprovide a frame for life to unfold withinâ€? The building can be read as a contemporary version of a warehouse traditional to the manufacturing industry. It lays as an extension to the civic buildings on the Oosterdok. It sits respectful of the Nemo not challenging its architectural presence but subtly complimenting its materiality.

TO UGHENED GL ASS DOUBLE SKIN FACADE The building is glazed across the whole facade to allow light deeper into the plan if shaded correctly. The double skin facade on the south elevation is used to control temperature and the internal environment. It also allows a more open feel on the ground floor creating a visual connection between inside and out.

ZINC STANDING SEAM ROOFING Zinc is a light weight material and has low toxicity levels which is great around water. Architectural grade zinc is also >90% recyclable and has a lifespan of 80+ years making it ideal for the roofing material. The materiality reflects that of a traditional factory roof denoting a purpose of design and manufacturing.

STEEL MESH SOLAR SHADE LAYER The galvanised mesh blocks out 40% of heat gain and is purposely angled to create a fluid aesthetic to reflect the process of design. The mesh also diffuses light which is the preferred lighting for design actives such as drawing and painting and is also not damaging to exhibition and gallery exhibits.

TUBE STEEL F R AM E

COPPER MESH

EXPOSED FRAMEWORK

OKALUX GLAZING SYSTEM

The exposed frame continues on the structural grid of the building to create some continuity from outside to inside. This supports the walkway and offers room for future expansion over the same footprint. The steel is robust enough to support floors and the space frame offers opportunity to hang sculptures and other work.

The un oxidised copper mesh is sandwiched between two layers of glass which allows light in and acts in a similar manner to one way glass. The box perforates through the cladding system suggesting something more architectural on the inside creating intrigue while breaking the rhythmical facade.

0 1 2

COPPER MESH

CAST CONCRETE

COPPER MESH 02

OKALUX GLAZING SYSTEM

STAIR CORES

CLADDING PANELS

The un oxidised copper mesh is sandwiched between two layers of glass which allows light in and acts in a similar manner to one way glass. The architectural idea is that it juxtaposes the oxidised copper mesh of the north facade suggesting something new and progressive happening internally.

The concrete, cast in situ, provides a escape solution in the instance of a fire. The cores provide 90mins fire protection to allow users to escape. They form the service cores and contains toilets, plumbing, ventilation and electrics. The concrete also prevents racking from lateral forces

The copper is oxidised prior to its installation and denotes an old factory aesthetic that has stood for some time. The panels subtly reflect the aesthetic of the Nemo museum. The mesh allows soft north light to enter the building depending on the lighting requirements of the internal spaces.

CO RRUGATE D

T U B E S T E E L F R AM E

TO U G H E N E D G L AS S

STEEL CLADDING PANELS

EXPOSED FRAMEWORK

DOUBLE SKIN FACADE

The corrugated panels and a layer of privacy to the ground floor and promote a more rugged factory aesthetic to denote the functionality of the building. The panels are robust enough to withstand impact and abrasion from industry related activities.

The facade on the north consists of 60% glazing to obtain as much natural light as possible as this is more diffuse and preferred for design work. The double skin offers many technical benefits including providing another sound buffer on the north facade to keep the noise of passing trains to a minimum.

0 1 2

FACADE ANALYSIS The buildings facade respond contextually to the environmental setting. The south elevation is open to the benefits of solar technologies but has required solar shading all the faรงades exposed to sun light.

SOUTH FACADE The Southern envelope consists of a glazed double skin to assist with temperature control and ventilation while enabling a visual connection between the internal and external environment. To protect from solar gain and to create a more diffusely lit internal environment there is steel meshed facade which reflects the fluidity of the creative processes.

NORTH FACADE The northern envelope is heavily glazed to obtain sufficient northern light for processes which require these lighting conditions. This is further enabled by the saw tooth roof that reflects light deeper into the plan. Copper mesh panels are supported by a secondary structure which breaks up the repetitive aesthetic of a more traditional warehouse building.

WEST + EAST FACADE The east and west elevations are similar to the northern elevations as turning the corner to the southern elevations the ground floor walls change materiality to match the glazed front facade. Due to the glazing on each side the mesh serves the purpose of a solar shade as the components will be rotated to soften direct in the morning and evening.

M AINTAINI N G AX I S

E N T RY S QUAR E

R AI LWAY N O I S E

MAIN ROUTE THROUGH THE SITE

ARRIVING AT THE BUILDING

DEALING WITH PASSING TRAINS

From the site analysis I identified a main route with lots of secondary routes coming off of it. I wanted to keep the idea of this just relocate this in front of the building to make the most of the low panoramic views but populate the site.

Entering the site by tram, ferry or foot I wanted them to arrive at the same location that clearly denotes entrance to make navigating the site and the building easier. This means creating a ferry port to increase accessibility from the centre.

L AN D S C AP E F I R S T I T E R AT I O N

The noise from trains was identified as one of the main constraints of the site. I would deal with this by putting the mass of the building in the sound path to dampen the sound from the waters edge of the site.

SITE PLAN

0 1 2

CREATE A BRIEF

RESEARCH

COLLABORATE

PROTOTYPE

CRITIC

PROCESS TIME

REITERATION

L AN D S C AP E S T R AT E G Y INTERNAL + EXTERNAL CONTINUITY The landscape strategy works on the same orientation as the internal floor plates to create some continuity between the internal and external environment. This is further supported by external steel frames that mirror the internal structure while providing the possibility to shade and shelter areas and hang sculptures. The strategy also subtly reflects the process diagram through casual places to meet clients or co-workers; external auditorium seating and external gallery and exhibition platforms.

FINAL PRODUCT

INTERNAL RELATIONSHIP

SECTION

CONTINUITY BETWEEN INSIDE AND OUT

EXPERIENCE OF THE PASSER-BY

The relationship between the landscape and the internal environment is key to creating a cohesive environment. This is achieved in the external strategy by working along the same axis as the internal layout which creates a complimentary relationship between the two spaces. The structural frame is also present in the landscape for opportunity to cover and hang art work and sculptures from which also denotes similarities.

I have decided to separate cyclists from the regular flow of pedestrians in true Dutch fashion. However, cyclists still achieve the same experience as the pedestrian as design work will be displayed through-out the landscaping strategy. This will create intrigue on a commuter route and create interest about the building but also provide a nice place to take a break and view some public design work.

7. 6.

5. 6.

0 1 2

10.

4. 1.

GROUND FLOOR PLAN

G RO U N D F LO O R The ground floor is heavily glazed and open. This is where the physical connection to the outside occurs. Jan Gehl (2011) supports this idea stating, ‘The better a place, the more optional activity occurs… these activities include simply seeing and hearing other people’. The ground floor of the project is definable as openly public. This is where people can engage with works of art, models or furniture that are in creation.

ROOM KEY 1. Entry Lobby + Reception 2. Light Weight Workshop 3. Storage + Deliveries 4. Open Auditorium 5. Toilets 6. Lift 7. Service Void 8.Exhibition 9. Library 10. Staff Room

1. 5. 6.

7. 6.

0 1 2

7. 1.

1. 3. 1.

3. 10.

FIRST FLOOR PLAN

INDIVIDUAL ARRANGEMENT 1.

GROUP ARRANGEMENT

ARTISTIC ARRANGEMENT

SOFT FLEXIBILITY

ROOM KEY 1. Flexible pod 2. Light Work Desks 3. Social Area 4. Tiered Auditorium Seating 5. Toilets 6. Lift 7. Service Void 8. Casual Desk Space 9. Book Stacks 10. Printing Station

To assist further with designing for the varied functionality of the design industries, I have suggested a loose fitting to space and leaving its purpose indeterminate. Thus, unlike traditional flexibility, coined as ‘hard planning’ by Jeremy Till, which consists of movable components. I have opted to utilise Tills ‘soft planning’ approach which works on many scales within the building. Till (2009) presents the idea that of “providing a frame for life to unfold within”. This theory works best with an open plan as this allows for further possibilities of temporary walls and positioning of furniture to accompany a given activity. The diagrams show a few of many possibilities of how the user can adapt the plan to meet their needs.

5. 9.

5. 6.

1. 2.

7. 8.

0 1 2

4. 1.

SECOND FLOOR PLAN

C I RC U L AT I O N “Flexibility is not the exhaustive anticipation of all possible changes. Most changes are unpredictable… flexibility is the creation of a margin” Koolass(2002) The varying floor plates add a complexity to navigating the building and the process of design needs to be fluid and free flowing. Therefore the main circulation route is a suspended metal walkway which is clearly identifiable and progresses or regresses to the next step of the design process.

ROOM KEY 1. Flexible pod 2. Studio Desks 3. Group Session 4. Dark Photography Room 5. Toilets 6. Lift 7. Service Void 8. Mutli-use Exhibition 9. Book Stacks

5. 9.

7. 6.

5. 6.

3. 3. 3.

0 1 2

7. 8.

2. 1. 1.

8. 2.

THIRD FLOOR PLAN

NAT U R AL L I G H T “A room is not a room without natural light” Kahn(1961)

Reflected light is the preferred light for artists as the quality of the light is generally consistent and cool. Since north light is reflected the tone and warmth doesn’t fluctuated through the course of a day. The gallery and painting stations are located on the top floor and receive little southern light and are more than sufficiently lit by the windows on the north side of the saw tooth roof.

ROOM KEY 1. Flexible pod 2. Light Desks 3. Painting Studios 4. Lighting Room 5. Toilets 6. Lift 7. Service Void 8.Gallery 9. Book Stacks

PRESENTATION

INITIAL DESIGN

GROUP BRIEFING

OFFICE + ADMINISTRATION

CLIENT MEETING

GROUP MEETING

SUSPENDED PODS Hertzberger (2009) “The only constructive approach to a situation that is subject to change is a form that starts outfrom this changefulness as a static form” The pods have been design with a ambiguous attachment to their purpose. Only being dubbed as private rooms with there function dictated by the user, they can have used as client meetings; design briefings etc. Being a regular shape aids build-ability. The okalux glazing system creates privacy in the same way that a one way mirror works. Above are a few iterations of how the spaces can be manipulated for specific uses.

S T RU C T U R A L F R A M E STRUCTURE UNITING THE FLOOR PLATES The structure is the reason why the building works successfully as it supports the hung floor plates but also allows a free plan so that spaces can evolve flexible at their own rates. It also allows people to communicate across platforms but also see the next natural progression in the design process.

WO R K S TAT I O N S COLD + HOT DESKS The work stations have been tagged on a hot + cold desk scale which essentially means how many people use the desk and for how long. Hot desks are desks where there will be a large amount of users for a short time. Cold desks are the opposite, such as administration desks.

P O L Y V A L E N T S PA C E Hertzberger(1991 pg.22) “Just like words and sentences, forms depend on how they are ‘read’ and which images they are able to conjure up for the ‘reader’ I have explored Hertzbergers theory of Polyvalence. A theory he argues is opposite to flexibility. . Polyvalence evolves around the idea that space can have many purposes in the state that it is presented. It is up for interpretation by the user. Lerup(1977 pg. 21) elaborates on this stating that “human action is a complicated matrix with unknown combinations, the result is considerable unpredictability, a marvellous unfinishedness and openness” The diagrams show that there are many uses for that particular space on the ground floor of the building. The space is ambiguous. This leaves the purpose of that space up to the creativity of the user. For example, it can be used as a place to have lunch or a casual meeting but simultaneously be used as a seating area for public talk or exhibition.

OPEN ENVIRONMENT Till (2009) â€œprovide a frame for life to unfold withinâ€?

Separating the spaces into functions rather than disciplines promotes a more collaborative environment and opportunity to interact with similar individuals. This is assisted further by the open environment, made possible by the structure and the suspended floor plates which results in no partition walls for interactive spaces. The lack of full height partition walls enables visual and verbal communication across platforms which can increase the efficiency of the design process. The user can naturally navigate through the design process as they can visually interpret the next space that they need to accomplish the task.

CREATE A BRIEF

RESEARCH

COLLABORATE

PROTOTYPE

CRITIC

PROCESS TIME

REITERATION

FINAL PRODUCT

PROTOTYPE RESEARCH COLLABORATION

BRIEF

01.

MEET + GREET

02. INITIAL DESIGN

03. INITIAL DESIGN

04. GROUP

Reception + Greet

Flexible Light Workshop

Flexible Light Works

3X Private multi-use pods

15X Hot Desk Quick Study

1X Relaxed Work Station

14X Hot Desks

Waiting Area + Seating

Computer studio space

3X Private Multi-use Pods

1X Private Multi-use Pod 8X Heavy Work Stations

14X Flexible Studio Desks 3X Group Work Stations

9X Studio Desks 11X Studio Desks

12X Drawing Desks

4X Painting Stations

Lockers and Small S

2X Relaxed work sta 2X Group Seating 10X Studio Desks

2X Group Work Roo

8X Painting Stations 1X Lighting Room

FINAL PRODUCT CRITIC

WO R K

shop

Storage

ations

oms

0 5 . P R E PA R A T I O N

06.LEARN + EXHIBIT

0 7 . D I S P L AY

Public Auditorium

Flexible Exhibition space

Flexible Exhibition Space

9X Small Light Desks

1X Plotter + Print Station

1X Flexible Auditorium Space

Tiered Seating

4X Studio Desks 1X Dark Room

6X Computer Stations

1X Flexible Auditorium space Flexible Gallery Space

4X Multi-use Pods 2X Multi-use Pods

Flexible Gallery Space

S T RU C T U R E Till (2009) â€œprovide a frame for life to unfold withinâ€?

The Primary structure consists of a 10M grid of 600mm tubular steel. At roof level there are space frame trusses spanning across both axis which supports against lateral forces as well as providing more area for suspended floor to be supported by.

P R I M A RY S T RU C T U R E The main structure is trussed with a space frame which acts in tension keeping the structure up right. Unlike conventional trusses there is also some resistance to lateral forces that cause racking. The primary structure also provides a strong enough surface for suspended floor plates to tie back to as well as the facade and roof.

0 1 . S PA C E F R A M E PRIMARY STRUCTURE

0 7 . D I S P L AY Flexible Exhibition Space 4X Multi-use Pods

1X Flexible Auditorium Space 2X Multi-use Pods

Flexible Gallery Space

The Primary structure consists of a 10M grid of 600mm tubular steel. The diamond shaped truss provides more surface for the hung floor plates to be connected to. The truss is 2M deep. The horizontal members are in tension and carry the loads of the floor plates across to the columns which are in compression.

FORCE DIAGRAM

02. FRAME TO ROOF SECONDARY STRUCTURE The structure that supports the saw tooth is more architectural elaborate and supports the architectural idea by denoting technical advancement and creativity. The imposed load of the roof is carried down by a the more vertical members and supported by tensile members. This is then mounted on top of the primary structure.

FORCE DIAGRAM

0 3 . S U S P E N D E D F LO O R SECONDARY STRUCTURE The floors are suspended from above and are either tied to a column or shear wall to prevent rotation and other movement. The floor plates sit on steel beams which carrying the imposed live loads of people and furniture. The load is then carried through the hung tensile members up to the primary structure. This helps create a more holistic environment promoting collaboration and communication.

FORCE DIAGRAM

0 7 . S H E A R WA L L SECONDARY STRUCTURE The shear walls play a multi-purpose role but focusing on structure they go from floor to the roof and will prevent racking of the frame. The shear walls also provide a solid surface for the suspended floors to fix onto preventing movement caused by live loads.

FORCE DIAGRAM

WAT E R The water strategy evolves round mostly passive techniques as rainwater is collected from the saw tooth gutters and run down the service void in the concrete stack to a water storage tank. It is then collected as grey water and used for toilet flushing, plant watering and brush washing stations.

LIGHT The lighting is mostly reflected light from the north and diffused light through the perforated southern facade which reduces heat gain too. However there are artificial lights inside the suspended okaulux pods which are simple ceiling lights which are serviced via cable trays under the walkways.

V E N T I L AT I O N

H E AT

Since the building is open warm stale air can simply rise due to specific conditions created by the double skin facade on the south. This allow the air quality and temperature be controlled by the flick of a switch. There are vents at the top of the saw tooth roof pitches and the top of the double skin facade for stale air to exhaust.

The building is powered by a combined heat and power unit, CHP. However unsustainable this may be due to the gas usage, the energy demands of a building of this scale and design are quite substantial. The burning energy of the gas is turned 40% into power and 60% into heat which can be used for air conditioning or heating water. There are trench heaters to remove drafts.

DOUBLE SKIN ENVIRONMENTAL PERFORMANCE The double skin facade plays a simple and vital role to controlling the internal air and temperature quality the diagrams show the variations and possibilities of the facade.

OUT

EXTERNAL CURTAIN

INTERNAL CURTAIN

Allows the cavity to cool reducing the amount of heat in the buffer zone cooling the building.

The internal air gets circulated around the building therefore not loosing heat gained.

OUT

AIR SUPPLY Air supply allows cool air into the building which helps maintain air quality and stabilise temperature.

OUT

AIR EXHAUST Air exhaust allows warm stale air to leave the building helping to maintain a consistent temperature.

OUT

BUFFER ZONE The air in the cavity is stale and there is no air movement so air quality will reduce and temperature will rise.

INSIDE

LIFT

SERVICE

FIRE ESCAPE

OUTSIDE

S E RV I C E T OW E R S ACCESS Part M requires disabled people to have be offered the same experience as other building users. The lift enables access to all levels of the building.

WATER The rainwater is collected and is drained in pipes down to the basement level where it is collected in a water storage tank to be reused as grey water.

VENTILATION The service shaft allows the plant room in the basement to be vented as heat produced from the mechanical equipment needs to be extracted.

POWER Power supply runs through cables on cable trays along the circulation route to required rooms and runs down the service shaft to the CHP in the basement.

FIRE STRATEGY The fire stairs are encased in concrete which meet building regulations part B fire safety as doors withstand 60 minuets and the concrete 90 minuets

F I R E R E G U L AT I O N STRUCTURE The structural steel is coated in a Intumescent Paint which essentially expands when the steel exceeds a certain temperature allowing people to escape.

FIRE STAIR The fire stairs are encased in concrete at intervals regular enough to allow for escape. The concrete supply 90 mins protection.

ESCAPE DURING FIRE Highlighted in red is the longest means of escape in a fire being 28M. Buildings regulations dictates that since there are 2 escapes that this distance be less than 32M.

EXITING THE BUILDING The fire escapes open outside to the rear of the building and clear exit to safety and afire assembly point to the far east of the site.

EMERGENCY SERVICES The back of the site is conventionally open for delivery lorries but offers a solution for fire fighters to get fire engines to close proximity of a fire

STUFF SPACE SERVICES SKIN STRUCTURE SITE

S H E A R I N G L AY E R S To assist the changeable functionality of spaces, I have separated my buildings components into functional layers. This theory was first coined by Frank Duffy (Quoted by Brand 1990 pg.12) who argued that “there isn’t such thing as a building… A building properly conceived is several layers of longevity of built components”. Duffy’s theory was later expanded on by Stewart Brand and is known as ‘shearing layers’. The building is split into the 6 S’s, Site, Structure, Skin, Services, Space plan, Stuff. These components are all designed separately from one another to allow the specific components to change at their own pace.

STUFF

In reference to items that cannot be fixed such as furniture and art work etc. this assists the functionality of changing requirements.

SPACE

Space refers to rooms such as floors and walls which can be temporarily erected to divide space or change function.

SERVICES

Services will have to be changed or altered to meet the environmental requirements of the spaces. Being exposed assists their maintainability.

SKIN

Skin refers to the enveloping layer of the building which can change independently to meet the requirements of the internal space.

S H E A R I N G L AY E R S A P P L I E D

STRUCTURE

Structure is the foundation of load bearing elements. This is often left exposed and is expensive to replace and usually remains unchanged.

02 04

01. FOOTING

02. GUTTER

CONCRETE SLAB TRENCH HEATER

STEEL TRUSS VALLEY GUTTER

Steel Reinforced Concrete Pile

Steel Tube Structure 150mm Corrugated Metal Panels, White Vapour Barrier 150mm Galvanised Steel ‘C’ Sections 150mm Rigid Insulation 50mm Rigid Insulation Breather Membrane Galvanised Steel Z Clips Aluminium Gutter Tray Standing Seam Zinc

Pile Cap

Concrete Trench Foundation Hardcore 200mm

Sand Blinding 25mm Breather Membrane 250mm Insulation

Damp Proof Membrane

300mm Concrete, Polished Finish Trench Heater

0 3 . E AV E S

04. RIDGE

0 5 . S O U T H FA C A D E

SECOND SKIN FACADE EAVES

ZINC SAW TOOTH RIDGE

DOUBLE GLAZED SKIN FACADE

Aluminium Mullion Frame 2X Toughened Double Glass Panels Aluminium Gridded Vent Steel Tube Structure 150mm Openable Double Glazed Window Vent Corrugated Metal Panels, White Vapour Barrier 150mm Galvanised Steel ‘C’ Sections 150mm Rigid Insulation 50mm Rigid Insulation Breather Membrane Galvanised Steel Z Clips Aluminium Gutter Tray Standing Seam Zinc Zinc Ridge Capping

600mm Tube Steel Column Aluminium Mullion Frame Toughened Double Glass Panels Supporting Steel Frame Openeable Aluminium Grid, Cleaning Access 20mm Tube Steel Cross Bracing Aluminium Mullion Frame Toughened Double Glass Panels 20mm Supporting Tube Steel Steel Mesh Panels

01. FOOTING

0 2 . WA L L

0 3 . E AV E S

CONCRETE SLAB TRENCH HEATER

WALL TO DOUBLE SKIN FACADE

NORTH DOUBLE SKIN EAVES

Steel Reinforced Concrete Pile Pile Cap

Concrete Trench Foundation Hardcore 200mm

Sand Blinding 25mm Breather Membrane 250mm Insulation

Damp Proof Membrane

300mm Concrete, Polished Finish Trench Heater

600mm Steel Column Corrugated Steel Wall Panel Galvanised Steel Frame 100mm Celotex Insulation Board Cavity Closer Galvanised Steel Frame 100mm Celotex Insulation Board Corrugated Steel Wall Panel

Steel Tube Structure 150mm Aluminium Mullion Toughened Double Glass Panels Corrugated Metal Panels, White Vapour Barrier 150mm Galvanised Steel ‘C’ Sections 150mm Rigid Insulation 50mm Rigid Insulation Breather Membrane Galvanised Steel Z Clips Aluminium Gutter Tray Standing Seam Zinc Zinc Capping

03 04

0 . 4 T RU S S

0.5FLOOR

TRUSS CONNECTION

CONCRETE FLOOR STEEL STRUCTURE

Steel Space Frame Truss Steel Tube Beam Pin-joint Steel Tube

Tube Steel Tension Member Steel I-Beam, Floor Structure Corrugated Steel Casting Tray 150 mm Concrete, Accessible Service Void Steel C Section 150 mm Acoustic Insulation Timber Skirting Board Tapered Edge Acoustic Plasterboard

N O R T H WA L L

ROOF

U-VALUE CALCULATION

1/10.42 = 0.09 W/m2 K

1/10.24 = 0.098 W/m2 K

A3.3_N.C.T. New Build

Note: items in red require amending to suite YOUR scheme Gross Internal Foor Area (GIFA) of YOUR scheme = 5,600.00 m2

Ref Group

COSTING EXERCISE ESTIMATED COST OF THE DESIGN PALACE Using SPONS as a guide for rates per meter square to calculate costs of separate components of my building and researching standard charges for external works.

1 1A 2 2A 2B 2C 2D 2E 2F 2G 2H 3 3A 3B 3C 4 4A 5 5A 5B 5C 5D 5E 5F 5G 5H 5I 5J 5K 5L 5M 5N 5O

Element

Substructure Substructure Superstructure Frame Upper Floors Roof Stairs External Walls External Windows and Doors Internal Walls and Partitions Internal Doors Finishes Wall Finishes Floor Finishes Ceiling Finishes Fittings and Furnishings Fittings and Furnishings Services Sanitary Appliances Services Equipment Disposal Installations Water Installations Heat Source Space Heating and Air Conditioning Ventilating Systems Electrical Installations Fuel Installations Lift and Conveyor Installations Fire and Lightning Protection Communications and Security Installations Special Installations Builder's Work In Connection Commissioning

Element Quantity Unit Rate £

1,800 m2

66.00

118,800

m m2 m2 nr m2 m2 m2 nr

108.00 210.00 235.00 4,600.00 165.00 490.00 148.00 490.00

4,968,000 798,000 517,000 78,200 138,600 1,140,720 363,784 11,760

4,348 m2 5,600 m2 2,200 m2

55.00 42.00 25.00

239,140 235,200 55,000

46,000 3,800 2,200 17 840 2,328 2,458 24

Item

n/a

n/a n/a

n/a

Total Cost Element Group £ £

15 nr

6 External Works

Site Works Drainage External Services Minor Building Works Demolition and Work Outside the Site

7 Preliminaries

8 Contingencies Total (less Design fees) 9 Design Fees Total Cost Plan: New Build N.C.M.

118,800 8,016,064

529,340

0 1,268,470

21.21 887.14 142.50 92.32 13.96 24.75 203.70 64.96 2.10 42.70 42.00 9.82 0.00

1,431.44

60%

94.53

0.00

1,773.69

74%

267.86

11%

107.14

12,632,674

2,255.83

95%

700,000

125.00

13,332,674

2,380.83

100%

36.00 23.00

4,320 128,800

0.77 23.00

27.00 11.00 91.00

151,200 61,600 509,600

27.00 11.00 91.00

5,600 m2 included

12.00

67,200

12.00

5,600 m2 included

60.00

336,000

60.00

1.74

9,932,674

350,000 250,000 250,000 150,000 500,000

21.21

10%

9,750

120 nr 5,600 m2 included 5,600 m2 5,600 m2 5,600 m2

226.51

650.00

Building Sub-Total

6A 6B 6C 6D 6E

Cost per m2 GIFA Element Group £ £

1,500,000

600,000 600,000

62.50 44.64 44.64 26.79 89.29

107.14

D E S I G N PA L A C E

BIBLIOGRAPHY Brand,S.(1994)How Buildings Learn. London: Phoenix Illustration Foster,N.(2008) My Green Agenda For Architecture (video). New York: TED Frost,R.(2006) Notebook of Robert Frost. Cambridge: Belknap Press pg.242 Gehl,J.(2011) Life Between Buildings: Using Public Space.(6th Edition) Washington: Island Press Hertzberger,H(1991)Herman Hertzberger 1959-1990. Tokyo: A+U. pg.22 Johnathan,H.(2003) Actions of Architecture. London: Routledge Kahn,L.(1989) Museum of Art. Durham: Duke University Press pg .263 Koolhaas,R.(2002)S,M,L,XL (second edition). New York: Monacelli Press. pg.239-240 Larup,L.(1977)Building The Unfinished: Architecture And Human Action. Beverly Hills: Sage. Pg. 21 Price,C.(2003) Re:CP. Berlin: Birkhauser Till,J.(2009)Architecture Depends. Massachusetts: The MIT Press