Sheffield School of Architecture RIBA Part 1 Design Studio Final Portfolio - Lily Kuik

A PUB & CERAMICS INSTITUTE THIRD YEAR FINAL PORTFOLIO - LILY KUIK

PUBLIC HOUSE ADDRESSING THE LONELINESS EPIDEMIC IN EDINBURGH THE PUB AS AN INTERACTIVE COMMUNITY LIVING ROOM

CONTENTS

EDINBURGH IN GREATER CONTEXT P1.1 URBAN ANALYSIS THE PUB AND ITS ROLE ARTISTIC PRECEDENCE - EDWARD HOPPER VISUAL BRIEF SITE ANALYSIS OF RAMSAY LANE SCHEME DEVELOPMENT - PROGRAMME MASSING DEVELOPMENT 1:50 PLANS INTERIOR SPATIAL RENDERS MAIN FACADE ON RAMSAY LANE 1:50 LONG SECTION 1:20 PART SECTION COURTYARD FACADE - CANTILEVERED PODS COURTYARD FACADE - MATERIALITY ROOFLIGHT DESIGN 1:50 SECTION 1:20 CONSTRUCTION SECTION 1:10 CONSTRUCTION DETAILS ENVIRONMENT AND TECHNOLOGY “BEFORE” - “DURING” - “AFTER”

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ABSTRACT

People experiencing chronic loneliness have an increased chance of developing dementia by 64%

More than 80,000 people aged 65 and over, living in Scotland, said they always felt lonely.

Around one in six aged 65 and over in Scotland are feeling cut off from society with a quarter (around 230,000) saying they would like to get out more

Edinburgh, a city of brilliant history and architecture, one so vibrant that it is the second most visited city in the United Kingdom. Yet it is in this bustling city that can make its inhabitants feel isolated and alone.

A traditional scottish pub is a place for social interaction, a place for people to catch up on the latest news and gossips. It holds a place in peoples hearts as the cosy community living room where there will always be fresh pints and friendly encounters.

This project seeks to address the loneliness epidemic in Edinburgh by reimagining a pub that brings together two groups of isolated demographics is expressed in the project ’s facade and spatial considerations and this project explores spatial design that creates opportunities for meaningful interaction.

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EDINBURGH IN GREATER CONTEXT

Edinburgh Castle Castle Rock

Princes St Gardens Edinburgh, Scotland

National Museum of Scotland Chambers St

Site

Princes St

Scottish National Gallery The Mound

Edinburgh Waverly

Ramsay Lane

The Royal Mile

Major Transport Hub

Edinburgh Old Town

The The City City of of Edinburgh Edinburgh "Half a capital and half a country town, the whole city leads a double existence; it has long trances of the one and flashes of the other; like the king of the Black Isles, it is half alive and half a monumental marble."

Robert Louis Stevenson 5

FIGURE GROUND - OLD TOWN / NEW TOWN

KAY ’S PLAN OF 1836

The figure ground clearly shows the medieval pattern of narrow closes and wynds on the Old Town contrasts with the broad, elegant squares and circuses of the classically inspired New Town.

This figure ground also expresses the integrated green spaces into the otherwise busy city plan.

1:5000 SCALED FIGURE GROUND 6

EDINBURGH IN GREATER CONTEXT - URBAN ANALYSIS P1.1

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EDINBURGH IN GREATER CONTEXT - URBAN ANALYSIS P1.1

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THE PUB AND ITS ROLE IN THE COMMUNITY

Old Jokes and Pints Will Miller - Oil on Canvas The relationship between the pub owner, his pub and his customers. He is always involved in the conversation, privy to the latest news and the community ’s favourite person.

Whatever ye say, Say nothing Will Miller - Oil on Canvas A place to gossip, connect and catch up on the latest tea - beer.

Location of pubs in Edinburgh Old Town

Talented Irish Drinker Will Miller - Oil on Canvas A relaxed space, people socialise over (many) pints of beer.

Sketches of The Last Drop - A historical themed pub in Edinburgh Old Town

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A STUDY OF PUBS - COMPARING FAGANS AND THE DEVONSHIRE CAT

THE DEVONSHIRE CAT - SHEFFIELD The Devonshire Cat is a quirky lively pub that is popular with university students for a group gathering and drinking spot. The owner was not in the pub and the staff are mostly young part-timers. It is modern and clean in aesthetic.

FAGANS - SHEFFIELD Fagans serve as a community living room for the residents of the area. It ’s owners, dressed casually, run the pub as though it is playing hosts to close friends.

When we visited the pub on a weekday afternoon, there were plenty of pensioners reading the daily news and enjoying a lovely sandwich. The pub owner; Tomwas seen engaging in banter and their lovely labrador was padding around the pub hoping for a dropped chip.

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PRECEDENCE - REPRESENTATIONS OF LONELINESS IN ART EDWARD HOPPER’S WORKS

New York Movie (1939) Edward Hopper The contrasting compostition of this painting displays a single character; the usherette in a brightly lit public space. She is isolated from the cinema space that is well occupied and engaged.

She is exibiting signs of distress and deep thought, interestingly not in a more suitable space - ladies room or in the comfort of darkness. Perhaps, Hopper is indicating her desire to be engaged, noticed and communicated with, yet her inability to make that move.

Office in a small city (1953) Edward Hopper Isolation screams in stillness of this painting. It seems like the man, isolated, has no desire to interact with anyone (or anything since his “office” desk is near empty) He is relaxed, perhaps in deep thought.

The “Windows” confining him in the office space is without glass. He is a part of the city yet trapped in a literal box. The surrounding building is painted in a dark rich colour and tradi tional facade design. The minimalist box seemingly represent how simple things can isolate the man.

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VISUAL BRIEF AND PROGRAMME OF PUB

1

200,000 of old people in Scotland will go half a week without a visit or a call from anyone

4

58% of Edinburgh households are occupied by adults with no children.

Higher than the scottish average of 50%

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2 3

6 “Young people socialise differently when the internet offers a sense of community otherwise unavailable to them” - Vice.com Integration, Participation and Engagement

PROGRAM AND SPATIAL CONSIDERATION

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URBAN ELEVATIONAL STUDY - EDINBURGH OLD TOWN’S FACADE SEQUENCES

Post review investigation into the facade sequences of Edinburgh’s old town. Specifically looking at fenestration rhythm and regularity (or irregularity) through the analysis of specific streets located in a close vicinity to Ramsay Lane as well as a Charlotte Square located in the Edinburgh New Town.

The findings of this study expresses the horizontal regularity contrasted by the rhythmic expression of windows vertically. This is usually informed by the terrain of the street that resulted in varying levels of ground floor plane. Especially relevant to my site condition.

STREET ELEVATION INVESTIGATION LOCATIONS

PHOTOELEVATION: CHARLOT TE SQUARE

PHOTOELEVATION: ROYAL MILE - LAWNMARKET

PHOTOELEVATION: ROYAL MILE - SOUTH

SITE ANALYSIS AND QUALITIES OF SITE The courtyard is an opportunity to create a cosy space within the bustling “touristy ” old town.

SITEANALYSIS ANALYSIS SITE

RAMSAY LANE EDINBURGH OLD TOWN

In addition to maintaining the greenery and views of The School of Divinity

VIEW EXITING RAMSAY LANE ONTO THE ROYAL MILE

EYE-LEVEL VIEW FROM SITE TO RAMSAY STREET APARTMENTS

VIEW FROM LOWEST POINT OF SITE ONTO EXISTING CONCRETE STAIRCASE 27 STEPS

The site is located as an inbetween space.

Tourists and visitors of the narea uses ramsay lane as a quick route to the top of the Royal Mile and Edinburgh Castle. In that case, a building in this site needs to respect Edinburgh’s sandstone material context and strong roofscape yet stand out from the “crowd”

VIEW ON SITE TO SURROUNDING BUILDING - SPECIAL NOTE TAKEN ONTO CONTEXTUAL FACADE

DETAILED LOOK AT RAMSAY LANE APARTMENTS FACADE

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Waverly

rt Hub

MIC

UNG

SITE QUALITIES AND SHADOWING OF SITE

SITEANALYSIS ANALYSIS SITE

Heliodon daylight analysis on site. This study expressed opportunities for natural lighting onto main facade on Ramsay Lane during the late afternoon and evening.

RAMSAY LANE EDINBURGH OLD TOWN

In addition, it shows that the courtyard is brightly lit in the morning and early afternoon.

9 a.m

9 a.m

9 a.m 12 p.m 12 p.m 12 p.m3 p.m

3 p.m

3 p.m

Panorama taken on site from the provate gardens of Ramsay Gardens flat expresses the steep incline and opportunities for views towards Princes Street Gardens.

Ths site is enclosed and there is a need for a strong response to main facade. Retaining Edinburgh’s sandstone textures yet stand out to attract visitors.

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DEVELOPMENT - MASSING STUDIES AND SKETCHES

1 : 200 FINAL MODEL IN CONTEXT

ITERATIVE MASSING DEVELOPMENT IN SEQUENCE

Initial sketch section expresses the challenges of designing a pub that is quinessesntially meant to be a cosy space on a relatively large site.

The massing models study the various ways the building ’s roofscape can be aligned with Edinburgh’s old town context yet create varying spaces in the pub.

The fifth massing model explores opportunities for cosy pods within a larger spatial context of the pub. This creates opportunities for more intimate encounters and interactions.

This courtyard facade is a contrast to the more respectful main street facade, expressing the stark contrast of the two intended groups of users. (Old and Young)

ROOF PLAN ON SITE - RAMSAY LANE

Developing the scheme in context.

Paying sensitivity to surrounding roofscape and building scale

ITERATIVE DEVELOPMENT OF SKYLIGHTS

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RAMSAY LANE - SITE P R O V I D I N G O P P O R T U N I T I E S F O R A C C I D E N TA L C O N V E R S AT I O N S T H I S I S A N I L L U S T R AT I O N O F A L O N E LY P E R S O N ’ S J O U R N E Y T H R O U G H T H E P U B

ROOF PLAN ON SITE - RAMSAY LANE

E

LAC

P UND

MO PRINCES STREET GARDENS

SCHOOL OF DIVINITY

RAMSAY GARDEN FLATS

PALACE AND CHAPEL OF MARY-DE-GUISE QUEEN REGENT

SAY

RAM LAN E ILL

CASTLEH EDINBURGH CASTLE PROMENADE

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LOWER GROUND FLOOR PLAN

U MO

ND

A PL

CE

DEVELOPMENT SKETCH PLAN

- Toilets - Staircase Relaxed Lounge - Outdoor Beer Garden Space

AR Y G A S RAM

DEN

RA MS

PUBLIC SPACES

AY

SERVICES

LA NE

CIRCULATION SEMI PRIVATE PODS

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GROUND FLOOR PLAN

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PL D UN

AC

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DEVELOPMENT SKETCH PLAN

-

GAR Y A S RAM

Main Entrance Foyer Bar Cosy Pods Reading Tables Kitchen

DEN

PUBLIC SPACES

RA MS

SERVICES

AY LA

CIRCULATION

NE

SEMI PRIVATE PODS

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FIRST FLOOR PLAN

MO

PL D UN

AC

E

DEVELOPMENT SKETCH PLAN

- Social pub seatings - Cosy pods for games and skill sharing - Small private event space

RAM

S AY

D GAR

EN

PUBLIC SPACES

RA MS

SERVICES

AY LA

CIRCULATION

NE

SEMI PRIVATE PODS

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A STUDY IN MOMENTS - THROUGH THE EYES OF A LONELY PERSON

SPATIAL RENDERS - OPEN SOCIAL PUB SEATINGS

GHT ANALYSIS 2019-09-03 4PM - OVERCAST SKY

USING CEILING DOWNHANGS TO MAKE A LARGE SPACE FEEL SMALL AND COSY

IGHT ANALYSIS 2019-09-03 4PM - OVERCAST SKY

Large skylights (aluminium cladded on both interior and exterior, reflects daylight well but can potentially be glaring.

This particular skylight is not very efficient in providing diffused light into the space.

The size of the glass / area of glass / tilt of the glass can be reconsidered to achieve better performance

Progressive brighter to darker space creates the intended spatial hierachy of open - cosy

This room is generally well lit to around 300-400 lux on an overcast day in the autumn.

Windows on the west side of the building does not seem to be effective in bringing in light to the space.

Having said that, a view of the princes street sunset is crucial in driving the plan of this design 500mm (W) by 1200mm (H) Windows are successful in creating a bright, informal feature space into the cantilevered nooks. As mentioned, mesh blinds can be integrated into the glazing in case of glare in the summer months.

RENDER VISUALISATION MAIN OPEN SOCIAL SPACE

DAYLIGHT ANALYSIS 2019-09-03 4PM - OVERCAST SKY

SPATIAL DAYLIGHTING ANALYSIS USING AUTODESK INSIGHT

[ CROPPED ] NEW YORK MOVIE EDWARD HOPPER

MO

RAM

S AY

GAR

UN

L D P

AC

E

DEN

RA MS AY

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LA NE

SPATIAL RENDERS - PRIVATE EVENT SPACE USING CEILING DOWNHANGS TO MAKE A LARGE SPACE FEEL SMALL AND COSYRENDER VISUALISATION CORRIDOR SPACE

DAYLIGHT ANALYSIS 2019-09-03 4PM - OVERCAST SKY

Large skylights (aluminium cladded on both interior and exterior, reflects daylight well but can potentially be glaring.

Progressive brighter to darker space creates the intended spatial hierachy of open - cosy

This room is generally well lit to around 300-400 lux on an overcast day in the autumn.

RENDER VISUALISATION - PRIVATE EVENT SPACE

DAYLIGHT ANALYSIS 2019-09-03 4PM - OVERCAST SKY

SPATIAL DAYLIGHTING ANALYSIS USING AUTODESK INSIGHT

RENDER VISUALISATION MAIN OPEN SOCIAL SPACE

DAYLIGH

INTERIOR SPACES OF THE SIR JOHN SOANE MUSEUM

INTERIOR SPACES OF THE SIR JOHN SOANE MUSEUM

MO

RAM

S AY

GAR

UN

L D P

AC

E

DEN

RA MS AY

25

LA NE

FEATURE SPACE - BAR AND ENTRANCE FOYER

RENDER OF BAR AND COSY PODS PART SECTION

CONCEPT SKETCH OF COMMUNAL READING TABLE

1:50 PART PLAN

MAGAZINE - NEWSPAPER READING TABLE PRECEDENT DUDOK AMSTERDAM

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SPATIAL RENDER - IN BETWEEN SPACE

The main lighting strategy of this projects revolves around using light to create cosy and warm places.

In order to achieve this, pendant lights are placed 2500mm apart on the corridors and recessed cam lights are integrated into the suspended ceilings.

In addition, understanding that the skylights will appear dark and void-like, strip uplights have been used to feature the massive aluminium skylights.

With the lights bouncing off the metal finishes, it provides a diffused glow into the space.

Pendant drop light Recessed cam light Wall uplighter Individual warm ceiling lights

Cove lights Skylight Strip Uplight

SECTION SKETCHES OF SPATIAL AMBIENCE AND USE DAYLIGHT ANALYSIS WITH AUTODESK INSIGHT (PLUG-IN FOR REVIT) - - - CALCULATING DAYLIGHT IN LUX

Wall space along corridor is darker than preferred due to lack of skylights.

Artificial wall uplighters can be used to improve lighting quality of space.

REFERENCE FIRST FLOOR PLAN

Small slit of skylight shared between the corridor and private event space creates a good glow onto the wall with approximate 200 lux in daylight on a overcast day.

Small square skylights does not appear to successfully bring diffused sunlight into the space.

Cantilevered nooks appears to receive a more than desirable amount of daylight at 600 lux. However it may serve as a good amount of light for newspaper reading in the elderly.

A sun shading device may be added to accomodate for brighter/sunnier summer days. eg. Automated mesh blinds built inside double glazed windows

RENDER VISUALISATION CORRIDOR SPACE

DAYLIGHT ANALYSIS 2019-09-03 4PM - OVERCAST SKY

SPATIAL DAYLIGHTING ANALYSIS USING AUTODESK INSIGHT

Large skylights (aluminium cladded on both interior and exterior, reflects daylight well but can potentially be glaring.

MO

UN

L D P

AC

E

Progressive brighter to darker space creates the intended spatial hierachy of open - cosy

This room is generally well lit to around 300-400 lux on an overcast day in the autumn.

RAM

S AY

GAR

DEN

RA MS AY LA NE

CONVERSATION AT NIGHT EDWARD HOPPER

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STRUCTURAL DEVELOPMENT

STRUCTURAL STRATEGY FOR CANTILEVER PODS FOCUSED ON DESIGNING A GRID THAT COMPLEMENTS THE PLAN ADDITIONAL COLUMNS ARE PROVIDED TO ENSURE STABILITY

BISHAN PUBLIC LIBRARY LOOK ARCHITECTS SINGAPORE REINFORCED CONCRETE CONSTRUCTION

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STRUCTURAL PLAN

1

2

3

4

5

6

7

8

9

10

11

A A

B C D

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MAIN FACADE ON RAMSAY LANE

UND

MO

CE PLA

SCHOOL OF DIVINITY

AMSAY GARDEN FLATS

PALACE AND CHAPEL OF MARY-DE-GUISE QUEEN REGENT

SAY

RAM LAN E

I N I T I A L C O N C E P T S K E T C H - R E F I N I N G T H E FA C A D E F E N E S T R AT I O N 30

MAIN FACADE ON RAMSAY LANE

1:200 MODEL IN CONTEXT - VIEW OF MAIN FACADE

MAIN FACADE DEVELOPMENT SKETCHES

Edward Hopper said that Nighthawks was inspired by “a restaurant on New York’s Greenwich Avenue where two streets meet,” but the image—with its carefully constructed composition and lack of narrative—has a timeless, universal quality that transcends its particular locale. One of the best-known images of twentieth-century art, the painting depicts an all-night diner in which three customers, all lost in their own thoughts, have congregated.

Hopper denied that he purposefully infused this or any other of his paintings with symbols of human isolation and urban emptiness, but he acknowledged that in Nighthawks “unconsciously, probably, I was painting the loneliness of a large city.”

UND

MO

CE PLA

PRINCES STREET GARDENS SCHOOL OF DIVINITY

NIGHTHAWKS - OIL ON CANVAS EDWARD HOPPER

RAMSAY GARDEN FLATS

NE

LA SAY

RAM

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1:100 STREET ELEVATION ON RAMSAY LANE IN CONTEXT

THEODORA HOUSE HOUSING BLOCK ADEPT COPENHAGEN

RHYTHMIC REPRESENTATION OF FENESTRATION ON THE ROYAL MILE

RHYTHMIC REPRESENTATION OF PROPOSED SCHEME FENESTRATION

A STUDY OF PUBS - COMPARING FAGANS AND THE DEVONSHIRE CAT

POPULATING THE SPACE - PART SECTION INHABITED WITH LIGHTING FIXTURES AND FURNITURE

UND

MO

CE PLA

PRINCES STREET GARDENS SCHOOL OF DIVINITY

RAMSAY GARDEN FLATS

PALACE AND CHAPEL OF MARY-DE-GUISE QUEEN REGENT

SAY

RAM LAN E

SIR JOHN SOANE MUSEUM DRAWING AND SPATIAL PRECEDENCE

1:100 COURTYARD FACADE IN CONTEXT

RHYTHMIC REPRESENTATION OF PROPOSED SCHEME FENESTRATION

EXTERIOR RENDER FROM COURTYARD - CANTILEVERED FACADE DESIGN

PRAHRAN STATE HOTEL INTIMATE PODS PRECEDENCE

SCOT TISH PARLIAMENT REFLECTIVE PODS PRECEDENCE

SCOT TISH BARONIAL ARCHITECTURE CONTEXTUAL TECTONIC PRECEDENCE

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ROOFLIGHT DESIGN AND DEVELOPMENT

ELEPHANT HOUSE - LONDON ZOO ROOFLIGHT PRECEDENCE

ROOFLIGHT ITERATION PLAN 1

ROOFLIGHT ITERATION PLAN 2

ROOFLIGHT ITERATION PLAN 3

FINAL ROOFLIGHT DESIGN

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FACADE DESIGN AND MATERIALITY

DURING MATERIAL LOCATION AND CHOICES - SECTIONAL PERSPECTIVE

1 SANDSTONE TERRAZO MIXED WITH RECYCLED BEER BOTTLE GLASS

2 INTERIOR FLOOR FINISH WARM TONE CARPET

3

5

SCOTTISH LARCH

5

1

1

4

3

2

4 4 3

SANDSTONE CLADDING

5 ALUMINIUM SKYLIGHT

6 2

TIMBER INTERIOR CLADDING

SECTIONAL PERSPECTIVE

PART ELEVATION

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1:50 SECTION THROUGH COURTYARD - RELATIONSHIP WITH THE SCHOOL OF DIVINITY

1:200 MODEL PHOTOS

1:200 MODEL PHOTOS

UND

MO

CE PLA

ARDENS SCHOOL OF DIVINITY

PART SECTION DETAIL SHOWING SPATIAL TECTONICS PODS ARE SEPARATE SPACES BUT PEOPLE ARE STILL INVOLVED IN THE ACTIVITIES OF THE MAIN SPACE

RAMSAY GARDEN FLATS

PALACE AND CHAPEL OF MARY-DE-GUISE QUEEN REGENT

SAY RAM E

LAN

ADVANCE STRUCTURES AND ENVIRONMENT ASSIGNMENT

Edinburgh Castle Castle Rock

BEFORE

National Museum of Scotland

Princes St Gardens

Chambers St

Site

Princes St

Edinburgh, Scotland

Scottish National Gallery

Edinburgh Waverly

Ramsay Lane

The Mound

The Royal Mile

Major Transport Hub

Edinburgh Old Town

SITEANALYSIS ANALYSIS SITE

RAMSAY LANE EDINBURGH OLD TOWN

Edinburgh Castle Castle Rock

National Museum of Scotland

Princes St Gardens Edinburgh, Scotland

Chambers St

Site

Princes St

Scottish National Gallery

Edinburgh Waverly

Ramsay Lane

The Royal Mile

The Mound

Major Transport Hub

WIND ROSE DIAGRAM

Edinburgh Old Town

VIEW EXITING RAMSAY LANE ONTO THE ROYAL MILE

The The City City of of Edinburgh Edinburgh "Half a capital and half a country town, the whole city leads a double existence; it has long trances of the one and flashes of the other; like the king of the Black Isles, it is half alive and half a monumental marble."

EYE-LEVEL VIEW FROM SITE TO RAMSAT STREET APARTMENTS

Robert Louis Stevenson

The The City City of of Edinburgh Edinburgh "Half a capital and half a country town, the whole city leads a double existence; it has long trances of the one and flashes of the other; like the king of the Black Isles, it is half alive and half a monumental marble."

HELIODON SUN ANALYSIS - SUMMER SOLSTICE

Robert Louis Stevenson

TACKLING THE LONELINESS EPIDEMIC

AVERAGE TEMPERATURE OF EDINBURGH

A PUB IN EDINBURGH BRIDGING THE OLD AND YOUNG

1

200,000 of old people in Scotland will go half a week without a visit or a call from anyone

200,000 of old people in Scotland will go half a week without a visit or a call from anyone

4

58% of Edinburgh households are occupied by adults with no children.

Higher than the scottish average of 50%

9 a.m

9 a.m

9 a.m

12 p.m 12 p.m 12 p.m 3 p.m 3 p.m 3 p.m

58% of Edinburgh households are occupied by adults with no children.

Higher than the scottish average of 50%

5

2

INITIAL PUB STUDY SERVES AS PRECEDENCE ON THE UNIQUE QUALITIES OF A PUB (COMPARING PUBS THAT SERVES DIFFERENT DEMOGRAPHICS)

3

VIEW FROM LOWEST POINT OF SITE ONTO EXISTING CONCRETE STAIRCASE 27 STEPS

6 “Young people socialise differently when the internet offers a sense of community otherwise unavailable to them” - Vice.com Integration, Participation and Engagement

PROGRAM AND SPATIAL CONSIDERATION

1

“Young people socialise differently when the internet offers a sense of community otherwise unavailable to them” - Vice.com

FAGANS - SHEFFIELD

WARM, COSY WITH LOTS OF WOOD. LITTLE NOOKS WITHIN A LARGER SPACE OLDER PUBS ARE CONSIDERED THE “LIVING ROOMS” OF THE COMMUNITY

VISUAL BRIEF

ACTIVITY

200,000 of old people in Scotland will go half a week without a visit or a call from anyone

4

Integration, Participation and Engagement 58% of Edinburgh households are occupied by adults with no children.

Higher than the scottish average of 50%

STREET ELEVATION OF THE ROYAL MILE

5

2 THE DEVONSHIRE CAT - SHEFFIELD

3

6

BRIGHTLY COLOURED, MISMATCHED WALLPAPER AND LOTS OF PRINTS. INDIVIDUAL PENDANT LIGHTS CREATE INTIMACY IN A WIDE OPEN AND NOISY SPACE NEW PUB SERVES AS A GATHETING SOCIAL SPOT FOR UNIVERSITY STUDENTS

“Young people socialise differently when the internet offers a sense of community otherwise unavailable to them” - Vice.com

SPATIAL NEEDS

BRIGHTNESS / DAYLIGHT

NOISE

BRIGHTNESS / DAYLIGHT

NOISE

TEMP

1

BRIGHT COMMERCIAL KITCHEN LIGHTING AMBIENT LOCAL LIGHT (ARTIFICIAL)

NO SPECIFIC CONCERNS

25 DEGREE

2

PRIVATE EVENT SPACES SMALL AND COSY

LOTS OF WARM DIFFUSED DAYLIGHT

GOOD ACOUSTICS SOFT FABRIC TO ABSORB REVEBRATION

23 DEGREE

3

FEATURE OPEN BAR LARGE ALCOHOL CABINET FEATURE

LOTS OF WARM DIFFUSED DAYLIGHT FEATURE DROP LIGHTS TO CREATE INTIMATE AMBIENCE LIGHTING BETWEEN BARTENDER AND PATRON

WILL BE LOUD NOT AN ISSUE AS IT CREATES A VIBRANT PUB AMBIENCE

23 DEGREE

4

INTIMATE NOOKS SMALL SOCIAL SPACES FOR 2-3 PEOPLE

LOTS OF WARM DIFFUSED DAYLIGHT

GOOD ACOUSTICS SOFT FABRIC TO ABSORB REVEBRATION

25 DEGREE

5

LARGE TABLES, SOCIAL SPACES FOR GROUP INTERACTIONS

LOTS OF WARM DIFFUSED DAYLIGHT FEATURE DROP PENDANT LIGHTS WARM TONE ARTIFICIAL AMBIENT LIGHT

GOOD ACOUSTICS SOFT FABRIC TO ABSORB REVEBRATION

23 DEGREE

6

LARGE TABLES / SPACES IN SEMI-PRIVATE NOOKS FOR BOARD GAMES AND DIGITAL GAMES

LOTS OF WARM DIFFUSED DAYLIGHT

GOOD ACOUSTICS SOFT FABRIC TO ABSORB REVEBRATION

25 DEGREE

VIBRANT BRIGHT ARTIFICIAL LIGHT

VIEW ON SITE TO SURROUNDING BUILDING - SPECIAL NOTE TAKEN ONTO CONTEXTUAL FACADE

DETAILED LOOK AT RAMSAY LANE APARTMENTS FACADE

Integration, Participation and Engagement

PROGRAM AND SPATIAL CONSIDERATION ACTIVITY

SPATIAL NEEDS MEDIUM COMMERCIAL KITCHEN DINING TABLES (LARGE FOR SHARING)

TEMP

1

MEDIUM COMMERCIAL KITCHEN DINING TABLES (LARGE FOR SHARING)

BRIGHT COMMERCIAL KITCHEN LIGHTING AMBIENT LOCAL LIGHT (ARTIFICIAL)

NO SPECIFIC CONCERNS

25 DEGREE

2

PRIVATE EVENT SPACES SMALL AND COSY

LOTS OF WARM DIFFUSED DAYLIGHT

GOOD ACOUSTICS SOFT FABRIC TO ABSORB REVEBRATION

23 DEGREE

3

FEATURE OPEN BAR LARGE ALCOHOL CABINET FEATURE

LOTS OF WARM DIFFUSED DAYLIGHT FEATURE DROP LIGHTS TO CREATE INTIMATE AMBIENCE LIGHTING BETWEEN BARTENDER AND PATRON

WILL BE LOUD NOT AN ISSUE AS IT CREATES A VIBRANT PUB AMBIENCE

23 DEGREE

4

INTIMATE NOOKS SMALL SOCIAL SPACES FOR 2-3 PEOPLE

LOTS OF WARM DIFFUSED DAYLIGHT

GOOD ACOUSTICS SOFT FABRIC TO ABSORB REVEBRATION

25 DEGREE

39

ADVANCE STRUCTURES AND ENVIRONMENT ASSIGNMENT

DURING

1:10 CONSTRUCTION DETAIL 1. ROOF STRUCTURE TO ROOFLIGHT UPSTAND DETAIL

MATERIAL LOCATION AND CHOICES - SECTIONAL PERSPECTIVE

1:20 CONSTRUCTION SECTION 5. CANTELEVER STRUCTURE TO WINDOW DETAIL

1 OUTSIDE

SANDSTONE TERRAZO MIXED WITH RECYCLED BEER BOTTLE GLASS

INSIDE

LAID TO

FALL

2 SOANE MUSEUM - LONDON INTERIOR SPATIAL QUALITY PRECEDENCE

INTERIOR FLOOR FINISH WARM TONE CARPET

3 Raised skylight in the direction of sun path brings diffused light into the interaction pods. Openable skylight promotes natural ventilation during summer months

SCOTTISH LARCH

5 1

4 SANDSTONE CLADDING

4

5

3

Integrated Recessed uplight shines a warm feature light onto the large aluminium cladded skylight.

2. ROOF STRUCTURE (EDGE) TO CANTILEVER PODS DETAIL

ALUMINIUM SKYLIGHT

6 2

TIMBER INTERIOR CLADDING

PRAHRAN HOTEL FEATURE MODERN PODS PRECEDENCE

SCOTTISH PARLIAMENT FEATURE INTEGRATED SEATINGS PRECEDENCE

6. FOUNDATION AND GROUND FLOOR DETAIL

Pendant lights onto bar counter brings the focus to the interaction between service and served

Top Hung awning window allows for natural ventilation during summer months and double glazed window keeps heating in and reduces energy consumption

3. CANTILEVER PODS ROOF TO WINDOW DETAIL

Cove lights integrated into the ceiling brings a warm diffused and friendly ambience to a cosy space

1:20 DETAILED SECTION 1:20 CONSTRUCTION DETAIL CUT

1:50 SECTION B-B IN CONTEXT

STRUCTURAL PLAN OF FIRST FLOOR 1

2

3

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Integrated under seat heating system located in the pods

The project’s primary structural elements inclides, Reinforced concrete walls and integrated steel beams and floor concrete floor slabs.

The cantilevered elements of the building uses integrated steel I beams and reinforce concrete supported back to the reinforce concrete walls.

4. INDOOR CORRIDOR TO R.C CONCRETE WALL DETAIL

Recessed downlight used in service areas such as the toilets / entrance to toilets. Suspended ceiling allows for a seamless service zone for electricals.

A A

B C D

40

ADVANCE STRUCTURES AND ENVIRONMENT ASSIGNMENT

AFTER

ARTIFICIAL LIGHTING

REVEBRATION DIAGRAM AND CALCULATION

This section looks into analysing key lighting and acoustic design decisions.

After analying my proposed lighting strategy, it seems that critical lighting decisions have been neglected, such as these massive skylights which will appear very dark and insignificant.

1:50 REFLECTED CEILING LIGHTING PLAN

Precedence of illuminated skylight.

Ambient strip lights are hidden along the boundaries of the base

DETAILED INHABITED PART SECTION

The main lighting strategy of this projects revolves around using light to create cosy and warm places.

In order to achieve this, pendant lights are placed 2500mm apart on the corridors and recessed cam lights are integrated into the suspended ceilings.

In addition, understanding that the skylights will appear dark and void-like, strip uplights have been used to feature the massive aluminium skylights.

With the lights bouncing off the metal finishes, it provides a diffused glow into the space.

Pendant drop light Recessed cam light Wall uplighter Cove lights

Individual warm ceiling lights for one-person nooks

Drop Pendant lights in black industrial aesthetic creates an intimate ambient light onto group tables.

Skylight Strip Uplight

Wall Uplight shines a warm ambient light onto the pub owner’s paintings and framed collections. Drawing attention to the character of the pub

DAYLIGHT ANALYSIS WITH AUTODESK INSIGHT (PLUG-IN FOR REVIT) - - - CALCULATING DAYLIGHT IN LUX FOR KEY SPACES

Wall space along corridor is darker than preferred due to lack of skylights.

Artificial wall uplighters can be used to improve lighting quality of space.

REFERENCE FIRST FLOOR PLAN

Reverbration time calculation for cosy pod opened to bar

Small slit of skylight shared between the corridor and private event space creates a good glow onto the wall with approximate 200 lux in daylight on a overcast day.

Ceiling (Gypsum Plasterboard) - NRC = 0.05 Ceiling (Suspended Ceiling with Gypsum Board - NRC = 0.6 Wall (Plasterboard painted) - NRC = 0.05 Floors (Carpet) - NRC = 0.05 Windows (Double glazed windows) - NRC = 0.05 Seats (Medium thickness upholsery ) - NRC = 0.6

Small square skylights does not appear to successfully bring diffused sunlight into the space.

Cantilevered nooks appears to receive a more than desirable amount of daylight at 600 lux. However it may serve as a good amount of light for newspaper reading in the elderly.

A sun shading device may be added to accomodate for brighter/sunnier summer days. eg. Automated mesh blinds built inside double glazed windows

0.16 X VOLUME OF ROOM IN M RT = ----------------------------------------------------------------------(NRC1 X SA1) + (NRC2 X SA2) + (NRC X X SAX) RENDER VISUALISATION CORRIDOR SPACE

DAYLIGHT ANALYSIS 2019-09-03 4PM - OVERCAST SKY

0.16 X 57.09 RT = (0.05 ----------------------------------------------------------------------X 11.8) + (0.6 X 5.6) + (0.05 X 10.51) + (0.05 X 19.8) + (0.05 X 6) + (0.6 X 3.38) Large skylights (aluminium cladded on both interior and exterior, reflects daylight well but can potentially be glaring.

This particular skylight is not very efficient in providing diffused light into the space.

The size of the glass / area of glass / tilt of the glass can be reconsidered to achieve better performance

Progressive brighter to darker space creates the intended spatial hierachy of open - cosy

RT = 1.1732 s

This room is generally well lit to around 300-400 lux on an overcast day in the autumn.

Windows on the west side of the building does not seem to be effective in bringing in light to the space.

Having said that, a view of the princes street sunset is crucial in driving the plan of this design 500mm (W) by 1200mm (H) Windows are successful in creating a bright, informal feature space into the cantilevered nooks. As mentioned, mesh blinds can be integrated into the glazing in case of glare in the summer months.

RENDER VISUALISATION - PRIVATE EVENT SPACE

DAYLIGHT ANALYSIS 2019-09-03 4PM - OVERCAST SKY

9.1344 RT = -----------------------------------------0.59 + 3.36 + 0.5255 + 0.99 + 0.3 + 2.028

RENDER VISUALISATION MAIN OPEN SOCIAL SPACE

DAYLIGHT ANALYSIS 2019-09-03 4PM - OVERCAST SKY

There is a “sweet spot” for RT. It can be too high (generally, > 2 seconds), and the room is considered “echoic.” It can be too low (< 0.3 seconds), and the room is called acoustically dead.

RT = 1 s : Good for speaking: articulation of speech is clear. Music doesn’t sound full, rich, or warm at this level.

In conclusion, revebration timing for a small cosy pod is good for speaking and close interactions. As music would not be a key factor in a pub, this is optimum as is.

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42

THE NORTHERN CERAMICS INSTITUTE / A STUDIO FOR EDMUND DE WAAL A COMPOSITION OF VESSELS NESTLED AMONGST THE HEART OF SHEFFIELDâ&#x20AC;&#x2122;S SLEEPING GIANTS

ABSTRACT

Standing proudly along the M1 highway, against the ominious and stoic backdrop of Sheffieldâ&#x20AC;&#x2122;s steel forging giants, the seemingly glowing white vessels of The Northern Ceramics Institute intrigues the passerby. What seems at first glance to be a purely industrial area is, in fact the grounds for a new artistic civic hub for Sheffield. The artists studio and gallery space encompass 6 bold volumes. From the outside, the playful push and pull of the composition compliments the carefully considered spatial layouts. Studios are aligned to the main road which creates an expanding atrium exhibition space sandwiched between Forgemasters and the artist â&#x20AC;&#x2122;s residencies. Each volume is fully glazed to maximise the daylight that is required of the precise art of ceramics, yet tightly louvered to achieve a delicate balance between privacy and natural light. The taller volume, inhabited by artist Edmund De Waal, provides unparallelled diffused lighting quality for his studio.

The large glass atrium space slants inwards, creating the illusion of an enclosed bubble; one that encourages visitors and inhabitants to focus on the art, yet embraces the unique textures of the site as a backdrop to Edmund De Waalâ&#x20AC;&#x2122;s works. The floors are subtly tinted and the indent of concrete formwork is embraced as part of the scheme - process is key. While studio spaces are logically segmented, activities are encouraged to spill onto the generous corridor; allowing for informal collaborations between the artists and Edmund De Waal. At 5pm the golden glow of dusk is reflected gently into the atrium, muted by the black facade of neighbouring Forgemasters.

The working day is done and the M1 fills up with busy commuters rushing home. The Northern Ceramics Institute glows proudly through its cast glass facade with the shadows of artists milling around their studios and pottery night classes coming alive. The black industrial buildings merging with the night.

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CONTENTS

ABSTRACT

SECTION A-A

CONTENTS

EXPLORING EXHIBITION STRATEGIES IN THE ATRIUM

DICHOTOMY BETWEEN ART AND INDUSTRY

SOUTH-WEST ELEVATION - MAIN ENTRANCE INTO THE CERAMICS INSTITURE IN RELATIONSHIP WITH THE PUB AND FORGEMASTERS

VISUAL BRIEF AND PROGRAM P2.1 URBAN ANALYSIS - ASSEMBLY SITE OVERVIEW AND LOCATION CARBROOK - FORGEMASTERS SITE FEATURES AND HISTORY HIGH LEVEL TEXTURAL STUDY OF SITE - LIMITATIONS AND OPPORTUNITIES HIGH LEVEL VIEW OF SITE PHOTO ELEVATIONS PERSONAL EXPLORATION IN THROWING POTS - TACTILITY AND REPETITION OF PROCESS YET NO TWO PIECES WILL BE THE SAME MODEL MAKING IN TIMES OF COVID19 - NATURAL BLUE SLIPPER CLAY ON THE ISLE OF WIGHT: PROCESS, FORM AND COMPOSITION OF MASSING KEY CONCEPT - PARTI DIAGRAM NESTLING OF VESSELS AMONGST SHEFFIELD’S SLEEPING GIANTS

TRESHOLD - ENTERING THE BUILDING IN BETWEEN GIANTS 1:100 LONG SECTION EXPLORING ATRIUM EXHIBITION SPACE APPROACH FROM BUS STOP AKONG PEDESTRIAN PATH FACADE DEVELOPMENT DETAILED STUDY OF LOUVERED GLASS FACADE NORTH-EAST ELEVATION - MAIN BUILDING FACADE ONTO STREET 1:100 ON A0 EXPRESSING LINEARITY OF SCHEME EXTERNAL FACADE EXPRESSION AND GROUND FLOOR CAST GLASS CONCEPT MATERIALITY SUSTAINABILITY ENVIRONMENT AND TECHNOLOGY ASSIGNMENT

INITIAL MASSING AND COMPOSITION STUDY HIGH LEVEL VIEW OF SCHEME IN CONTEXT - ITERATIVE DEVELOPMENT OF FORM AND COMPOSITITION SCHEME PROGRAM AND SPATIAL LAYOUT NOLLI PLAN OF SCHEME IN CONTEXT GROUND FLOOR PLAN IN CONTEXT 1 : 100 ON A1 FIRST FLOOR PLAN IN CONTEXT 1 : 100 ON A1 SECOND FLOOR PLAN IN CONTEXT 1 : 100 ON A1 ROOF PLAN IN CONTEXT 1:100 ON A1 FEATURE SPACE - EDMUND DE WAAL’S STUDIO ON GROUND FLOOR FEATURE SPACE - THE COLLABORATIVE CORRIDOR FEATURE SPACE - COMMUNITY CERAMICS CLASSROOM

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DICHOTOMY BETWEEN ART AND INDUSTRY

The metal trade were established in the Sheffield region in the Middle Ages. The natural advantages of the area included local supplies of iron ore and charcoal, the latter used as the fuel for blast furnances; the availability of local coal used from the late 18th century in the form of coke to replace charcoal in smelting and forging; good sandstone for gritstones; and crucially, the steeply falling rivers, which were harnessed for grinding , rolling and forging.

Once established, the metal industries encouraged the development of a highly skilled workforce, with knowledge and expertisehanded down and developed from generation to generation. This was evident in the 18th century in the local invention of crucible steel and Old Sheffield Plate.

Edmund de Waalâ&#x20AC;&#x2122;s art and literature speak to his enduring fascination with the nature of objects and the narratives of their collection and display. A potter since childhood and an acclaimed writer, de Waal has a long-held obsession with porcelain, or â&#x20AC;&#x153;white gold.â&#x20AC;? This fascination has led to encounters with many people and places that have helped deepen his understanding of the nature of the material. De Waal is best known for his large-scale installations of porcelain vessels, which have been exhibited in many museums around the world. Much of his recent work has been concerned with ideas of collecting and collections, and how objects are kept together, lost, stolen, and dispersed. His work comes out of a dialogue between Minimalism, architecture, and sound and is informed by his passion for literature.

46

VISUAL BRIEF AND PROGRAM

THE CERAMICS INSTITUTE

A STUDIO FOR EDMUND DE WAAL

&

Program Precedence Persistence Works - Sheffield FieldenCleggBradley Yorkshire Artspace - Independent studios in the heart of Sheffield

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P2.1 URBAN ANALYSIS - ASSEMBLY

assembly.

This exhibition aims to explore the interplay of the often forgotten parts of Sheffield and through a de Waal like lens, explore the contrasts between the remaining industrial grain and the delicacy of parts that assemble this picture. In this exhibition we encourage you to submerge yourself amongst the sleeping lions that rest along the River Don and assemble your own narrative of what it might be like to experience these vast, desolate sheds. Moving from the micro: textures, touch and sound, then through a series of photographs, to the macro: giant washes of warehouses.

48

SITE OVERVIEW AND LOCATION

NOLLI PLAN OF CARBROOK Carbrook is an industrial area of Sheffield, South Yorkshire, England to the south-east of Brightside. The suburb is named for the Carr Brook, which ran through the area until the late eighteenth century.

Carbrook borders the former industrial village of Tinsley and has preserved a few older buildings such as the Sheffield Bus Museum, historic Carbrook Hall public house, the stone-built Carbrook School and steelworks Tinsley Wire. In 1868, the Brightside and Carbrook Co-operative Society was founded in the suburb, an important step in the development of the co-operative society in the region, later becoming the Sheffield Co-operative Society.

THE LOWER DON VALLEY BEFORE INDUSTRIALISATION

49

CARBROOK - FORGEMASTERS SITE FEATURES AND HISTORY

PUB AS A SPACE FOR THE WORKING MEN COMMUNITY

FORGEMASTERS’ INDUSTRIAL HISTORY More than two centuries ago – 1805, to be exact – a U.K. miller with a water mill on Millsands set the foundation for Sheffield Forgemasters International Ltd. (SFIL). That miller ’s name was Edward Vickers, whose operation was close to the center of Sheffield. Vickers, together with other members of his and the Naylor family, started SFIL, which by 1850 produced nearly 40,000 tons of steel – more than half the world’s production at that time.

WIND ROSE

SUN PATH

NOISE

VEHICULAR CIRCULATION 50

HIGH LEVEL TEXTURAL STUDY OF SITE - LIMITATIONS AND OPPORTUNITIES

TEMPORARY INDUSTRIAL WAREHOUSES SHEFFIELD FORGEMASTERS

A61

THE WENTWORTH PUB

CONTEXT - INDUSTRIAL ROOFSCAPES

51

HIGH LEVEL VIEW OF SITE

HIGH LEVEL IMAGE OF SITE - EMPHASIZES THE SCALE OF FORGEMASTERS AKA “SLEEPING GIANTS” 52

PHOTO ELEVATIONS

THE WENTWORTH PUB

FORGEMASTERS

EIGHTEEN TEN PUB

PHOTO ELEVATION OF MAIN STREET FRONTAGE

FORGEMASTERS

TACO BELL

KFC

THE WENTWORTH PUB

PHOTO ELEVATION OF POTENTIAL ENTRANCE TO SCHEME

53

PERSONAL EXPLORATION IN THROWING POTS - TACTILITY AND REPETITION OF PROCESS YET NO TWO PIECES WILL BE THE SAME

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MODEL MAKING IN TIMES OF COVID19 - NATURAL BLUE SLIPPER CLAY ON THE ISLE OF WIGHT: PROCESS, FORM AND COMPOSITION OF MASSING

C O L L E C T I N G B L U E S L I P P E R C L AY

PRE- ROLLING

R E H Y D R AT I N G A N D S E PA R AT I N G I M P U R I T I E S - 2 D AY S

ROLLED AND SET TO DRY TO L E AT H E R H A R D

DRYING AND WEDGING

S A M P L E P I E C E O F L E AT H E R H A R D C L AY - N O T E T H E N AT U R A L P I E C E S O F C H A L K E M B E D D E D I N T H E C L AY

M E A S U R I N G T O S C A L E FA C A D E P I E C E S

WEDGING

WELL WEDGED LOG READY FOR ROLLING

A R R A N G I N G M A S S E S I N T U I T I V E LY T O F I N A L DESIGN

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KEY CONCEPT PARTI DIAGRAM

El Lissitzky Untitled - Artistic expression of rational composition and exploring the concepts of constructivism

THE CONVERSATION BETWEEN CERAMIC VESSELS AND THE STEEL FORGE GIANTS INITIAL CONCEPT PARTI SKETCH

56

NESTLING OF VESSELS AMONGST SHEFFIELD’S SLEEPING GIANTS

WHITE ISLAND EDMUND DE WAAL INVESTIGATING THE INTUITIVE STYLE OF COMPOSITION THROUGH EDMUND DE WAAL’S WORKS

Edmund de Waal works with porcelain vessels to offer a curated collection of objects which delineate minimalism, architecture and sound. De Waal is fascinated with the interplay between the narrative of objects and his book, ‘ The Hare With the Amber Eyes’ explores this obsession through the narrative of his Uncle’s netsuke set. His works explore an ethereal sense of being whilst creating an assembly of shrouded characters.

HIGH LEVEL VIEW OF PROPOSED SCHEME FROM NORTHEAST DIRECTION

57

INITIAL MASSINGS AND COMPOSITION STUDY

TESTING FACADE TEXTURE WITH CLAY

INITIAL MASSINGS FIRST AT TEMPT AT COMPOSITION OF VESSELS

NATURAL CLAY MODEL - TEXTURED TO DEVELOP LINEARITY IN FACADE FINISHES

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HIGH LEVEL VIEW OF SCHEME IN CONTEXT - ITERATIVE DEVELOPMENT OF FORM AND COMPOSITITION

ITERATIVE DEVELOPMENT SKETCHES FOCUSING ON MAIN FACADE TOWARDS THE STREET CREATING A CIVIC FRONT FOR THE SCHEME

TESTING MASSING WITH CAST GLASS MATERIAL ON GROUND FLOOR

HIGH LEVEL VIEW OF PROPOSED SCHEME FROM SOUTHWEST DIRECTION

TESTING MASSING IN REVIT WITH CONTEXT

SCHEME PROGRAM AND SPATIAL LAYOUT LIGHTING TEST SPACE

ATRIUM EXHIBITION SPACE

EDMUND DE WAAL STUDIO

APPROACH FROM BUS STOP ON MAIN STREET

MAIN ENTRANCE

COMMUNITY POT TERY CLASSROOM

INDEPENDENT ARTIST STUDIOS

60

NOLLI PLAN OF SCHEME IN CONTEXT

INITIAL PARTI SKETCH WITH FLOOR TEXTURES

EXPRESSING AN EXPANDING INTERNAL SPACE INFORMED

BY FORGEMASTERS’S MASS

NOLLI PLAN OF PROPOSED BUILDING IN CONTEXT IN RELATIONSHIP TO FORGEMASTER’S CONTEXT

GROUND FLOOR PLAN IN CONTEXT 1 : 100 ON A1

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FIRST FLOOR PLAN IN CONTEXT 1 : 100 ON A1

63

SECOND FLOOR PLAN IN CONTEXT 1 : 100 ON A1

SECOND FLOOR IN CONTEXT - 1:100 ON A1 64

ROOF PLAN IN CONTEXT 1:100 ON A1

ROOF PLAN IN CONTEXT - 1:100 ON A1

STRUCTURAL INTEGRATION OF ATRIUM MULLIONS AND MAIN BLOCKâ&#x20AC;&#x2122;S STRUCTURAL ELEMENTS 65

MAIN SECTION A-A SCALE 1:50

PERSISTENCE WORKS FIELDENCLEGGBRADLEY / YORKSHIRE ARTSPACE

INITIAL SKETCH SECTION KEY IDEA OF LEANING TOWARDS FORGEMASTERS EXPRESSED WITH ATRIUM STRUCTURE

1:100 LONG SECTION EXPLORING ATRIUM EXHIBITION SPACE

FACADE DEVELOPMENT

SECTIONAL MODEL REFINING THE FORM AND PROFILE OF THE VESSELS

PART ELEVATION LINE DRAWING

IMPACT ON INTERIOR LIGHTING QUALITY

DETAILED STUDY OF LOUVERED GLASS FACADE

FA C A D E P R E C E D E N C E A M O R E PA C I F I C H E A D Q U A R T E R S D AV I D C H I P P E R F I E L D A R C H I T E C T S

INITIAL TESTING OF SOLID FORM/ MATERIALITY FROM GROUND FLOOR EYE LEVEL USING 1:200 CLAY MODEL

1:50 SECTIONAL MODEL WITH PROPOSED GLASS FACADE A BALANCE OF PRIVACY AND LIGHTING QUALITY

LOUVERED FACADE APPEAR STOIC AND SOLID THIS LACK OF OBVIOUS FENESTRATION OPENING EMPHASIZES THE PURITY OF FORM EVEN ON STREET LEVEL

69

FEATURE SPACE - EDMUND DE WAAL’S STUDIO ON GROUND FLOOR MAIN OFFICE WORKSPACE FOR EDMUND DE WAAL AND HIS STAFF - DOUBLE VOLUME

DAVIDSON RAFAILIDIS HE, SHE & IT. BUFFALO, UNITED STATES STUDIO FOR CERAMIC ARTIST

EXISTING EDMUND DE WAAL STUDIO IN LONDON DHDSA ARCHITECTS

PART SECTION OF EDMUND DE WAAL’S OFFICE SPACE

70

FEATURE SPACE - THE COLLABORATIVE CORRIDOR ENCOURAGING INFORMAL COLLABORATION THROUGH THE EXPANSION OF WORKSPACE TO THE BUSY CORRIDOR

CONCEPT SKETCH - COMPOSITION OF VESSELS WITH SHARED COLLABORATIVE SPACES

MATERIALITY PRECEDENCE - BLAVANIK SCHOOL OF GOVERNMENCE, OXFORD POLISHED CONCRETE SLAB EXPRESSION AND ROUGH CONCRETE BALUSTRADE FINISH

FEATURE SPACE - COMMUNITY CERAMICS CLASSROOM

INTERIOR SKETCH CONCEPT OF CLASSROOM SPACE

GROUND FLOOR PART PLAN: POT TERY STUDIO AND RELATIONSHIP TO EXHIBITION SPACE

INTEGRATION OF FACADEâ&#x20AC;&#x2122;S CAST GLASS STRUCTURE AND POT TERY STORAGE

72

EXPLORING EXHIBITION STRATEGIES IN THE ATRIUM

EXPLORING EXHIBITION STRATEGIES THAT FEATURE EDMUNDâ&#x20AC;&#x2122;S WORKS AGAINST THE INDUSTRIAL BACKGROUND OF SHEFFIELD FORGEMASTERS

INITIAL SKETCH IDEA FOR EXHIBITION DESIGN - DICHOTOMY BETWEEN ART AND INDUSTRY UNIQUE TO SITE AND SHOULD BE EMBRACED INTERIOR RENDER - GROUND FLOOR EXHIBITION ATRIUM 73

SOUTH-WEST ELEVATION - MAIN ENTRANCE INTO THE CERAMICS INSTITURE IN RELATIONSHIP WITH THE PUB AND FORGEMASTERS

INITIAL ELEVATION CONCEPT - FORM LOOKED CLUNKY AND UNREFINED

TRESHOLD - ENTERING THE BUILDING IN BETWEEN GIANTS

JIANGSU PROVINCIAL ART MUSEUM KSP JÃ&#x153;RGEN ENGEL ARCHITEKTEN

DRAWING PRECEDENCE: NIGEL PEAKE EXPERIMENTING WITH LINEAR EXPRESSION OF TEXTURES ON SITE

COLLAGE OF MAIN ENTRANCE - STEPPING BACK THE TRESHOLD TO CREATE A DRAMATIC EXPERIENCE OF STANDING BETWEEN TWO GIANTS

SKETCH OF BUILDING IN CONTEXT - APPROACH FROM EXISTING CARPARK

APPROACH FROM BUS STOP ALONG PEDESTRIAN PATH

S U B T L E L A N D S C A P I N G G R O U N D T R E AT M E N T PRECEDENCE BREGENZ OPERA HOUSE LANDSCAPE, AUSTRIA VOGT LANDSCAPING ARCHITECTS

NORTH-EAST ELEVATION - MAIN BUILDING FACADE ONTO STREET 1:100 ON A0

EXPRESSING VERTICALITY THROUGH LANDSCAPE/ TREE SELECTION PRECEDENCE OF RENZO PIANOâ&#x20AC;&#x2122;S HOUSING IN PARIS SCHEME

INITIAL CONCEPT SKETCH - COMPOSITION OF VESSELS ATOP A LIGHT TRANSLUCENT MATERIAL

EXPRESSING LINEARITY OF SCHEME

INSPIRATION THROUGH NATURE: NATURAL CLAY SEDIMENTARY LAYERS - ISLE OF WIGHT

NEW MUSEUM OF CONTEMPORARY ART - SANAA

STRUC TURAL EXPRESSION IN ATRIUM SPAC E Sheffield is known as the ste e l city, the s che me embrace s the industr i al he r itage thro ugh the ex te ns ive us e o f str uctural stee l e leme nts in the atr ium s pace. This s pace is in dire ct co nvers atio n with the mas s ive Fo rge masters building. A decis io n was made no t to mimic the s ur ro unding co ntex t â&#x20AC;&#x2122;s co l o urs o f black stee l facades but to co ntrast that with a powde r co ated white minimal str uctural syste m.

Additio nally, the str uctural gr id is s pace d 1.5m apar t in the atr ium s pace which is aligned with the ves s e ls . A s eamle s s integratio n o f co ncrete and stee l str uctural ele me nts was e s s ential.

ISOMETRIC DRAWING - LINEAR EXPRESSION LEANING TOWARDS FORGEMASTERS WITH AN EMPHASIS OF ATRIUM STRUCTURE

INTERIOR VIEW ONTO EXHIBITION SPACE FROM FIRST FLOOR CORRIDOR

EXTERNAL FACADE EXPRESSION AND GROUND FLOOR CAST GLASS CONCEPT

MATERIAL / LIGHTING CONCEPT CAST GLASS FACADE The scheme appears to be firm and unchanging , but it varies depending on the light conditions.

EYE LEVEL VIEW - DAY TIME

EYE LEVEL VIEW - NIGHT TIME

SKETCHING STREET VIEW OF SCHEME TESTING VARIOUS FACADE TREATMENT AND FENESTRATION OPENINGS

MATERIALITY AND SUSTAINABILITY

MAT ERI A L P RECED ENCE HEP WORT H GA LLERY DAV I D CHI P P ERFI ELD D av id Chipperfieldâ&#x20AC;&#x2122;s use of subt ly t inted concrete and specific choice of poured in place concrete facade was an interest ing decision t hat makes t he ex terior of t he scheme more believable as a series of monolit hs. Similar to my proposed scheme in carbrook , vessels needed to read as indiv idual blocks. I ndependent yet cohesive.

T he choice of using reinforced concrete st ruct ure is made due to t he t hermal propert ies of t hat mit i gates temperat ure swings wit hin t he st udio blocks.

TINTED CONCRETE WITH R I D G E S - I N T E R I O R WA L L FINISH

I N T E R I O R AT R I U M G L A S S SKYLIGHT WITH MOTORISED LOUVERS TO PREVENT GLARE AND SOLAR GAIN IN THE SUMMER VELUX SYSTEM DESIGNED W I T H F O S T E R S + PA R T N E R S

TEXTURES AROUND CARBROOK AND ATLAS

FA C A D E P R E C E D E N C E D AV I D C H I P P E R F I E L D A M O R E PA C I F I C SEOUL T he unique ar rangeme nt o f fixe d diffe re ntly s ized alumini um fins in fro nt o f full-he ight glas s panes reduce the s o lar gain to t he o ffice s pace.

T he facade of t he building illust rates one of t he key component s of t he sustainable design. T he double sk in facade integrates bot h shading and vent ilat ion. Vert ical fins, opt imises shade and nat u ral light and reduce energy consumpt ion.

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ARC308 ENVIRONMENT AND TECHNOLOGY DETAILING STRUCTURE, FACADE, LIGHTING DECISIONS FOR THE NORTHERN CERAMICS INSTITUTE IN SHEFFIELD

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1 - 300 M M T H K R E I N F O R C E D C O N C R E T E C A S T I N S I T U , T I N T E D L I G H T G R E Y, P O L I S H E D F I N I S H O N T H E I N T E R I O R 2 - 100 M M T H K S T R U C T U R A L C O N C R E T E T O P P I N G 3 - DAMP PROOF MEMBRANE 4 - 150 M M T H K R I G I D I N S U L AT I O N 5 - 50 M M T H K C O N C R E T E T O P P I N G 6 - 50 M M T H K S C R E E D, G R A D I E N T 1:80 S C R E E D T O FA L L T O S C U P P E R DRAIN 7 - I N S U L AT E D C O N C R E T E B L O C K T O P R E V E N T T H E R M A L B R I D G I N G 8 - T E X T I L E S O L A R C O N T R O L , E L E C T R I C . O P E R AT E D 9 - D O U B L E G L A Z I N G 8 M M T O U G H E N E D G L A S S + 12 M M C AV I T Y + 2≈ 4 M M L A M . S A F E T Y G L A S S I N A L U M I N I U M F R A M E 10 - T H E R M A L LY Z O N E D C O N C R E T E U N I T S T E E L S U P P O R T I N G S T R U C T U R E 11 - P O W D E R C O AT E D S T E E L L O U V E R S U P P O R T E D B Y C O N C R E T E U N I T 12 - D O U B L E G L A Z I N G 8 M M T O U G H E N E D G L A S S + 12 M M C AV I T Y + 2≈ 4 MM LAM. SAFETY GLASS IN ALUMINIUM FRAME 13 - 200 M M T H K R E I N F O R C E D C O N C R E T E F L O O R S L A B P O L I S H E D F I N I S H L I G H T LY T I N T E D 14 - FA N C O I L U N I T ( U N D E R F L O O R H VA C S Y S T E M ) 15 - 24 M M T H K R I G I D A C O U S T I C R U B B E R PA N E L S 16 - 300 M M H I G H R A I S E D A C C E S S F L O O R P E D E S TA L S 17 - R E C E S S E D F L O O R U P L I G H T U N I T I N C O O L T O N E 18 - 50 M M P O L I S H E D C O N C R E T E PA N E L S S U P P O R T E D B Y I N T E G R AT E D C BEAM TO REINFORCED CONCRETE FLOOR SLAB 19 - 100 M M T H K S A N D B L A S T E D C A S T G L A S S G R O U N D F L O O R W I T H I N T E G R AT E D S H E LV I N G S Y S T E M FA C A D E 20 - 75 M M T H K S T R U C T U R A L C O N C R E T E T O P P I N G 21 - C E R A M I C O U T D O O R PAV I N G S L A B S 22 - 100 M M T H K S C R E E D 23 - P E R I M E T E R D R A I N 24 - 150 M M T H K C O M PA C T E D C O N C R E T E 25 - M I N 1200 M M D E E P R E I N F O R C E D C O N C R E T E F O U N D AT I O N , 300 M M THK CAST IN-SITU GROUND FLOOR SLAB 26 - S E L F C O M PA C T I N G H A R D C O R E

St r i ps o f ex p o s e d co n c rete u n i t s co r res p o n d i n g to t h e f l o o r s l a bs – wh i c h s u p p o r t t h e o u ter p owd er co ate d ste el l o u vers h i nt s at t h e st r u c t u ra l co n c e pt o f t h e s c h em e .

T h e s c h e m e p red o m i n e nt l y u t i l i s e d t h ree m ate r i a l s ; stee l , co n c rete a n d g l a s s . T h i s v i s u a l co nt i n u i t y o f t h e m ater i a l s a re d es i g n ed wi t h s e a m l es s co n n ec t i o n s a n d t h er m a l b r i d gi n g i s p revente d wi t h st r u c t u ra l i n s u l ated co n c rete b l o c ks at p i vo ta l j o i nt s .

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CO NC R E TE C A STE D P E NDA N T L I G H TS

G o o d s o u n d i n s u l at i o n by wa l l s a n d f l o o rs i s ea s i l y a c h i eved u s i n g t h e i n h e re nt m a s s a n d damping qualities of co n c rete . H owever, t h e ref l ec ted i m p a c t s o u n d s wi t h i n a n e n c l o s ed s p a c e m ay b e co m e a p ro b l e m . To a d d re s s this, the scheme util i s ed a ra i s ed f l o o r sys te m wi t h a s o u n d a b s o r b a nt r u b b er a co u st i c l aye r u n d er n e at h t h e f l o o r l i ght we i g ht co n c rete m i x te ra zzo f l o o r p a n el s . T h i s re d u c es t h e ec h o es wi t h i n t h e st u d i o s p a c e .

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A d d i t i o n a l l y, t h e r u b b er a co u st i c l aye r a bs o r bs t h e v i b rat i o n s f ro m t h e h i g h p owered p o tte r y wh e el .

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A s t h is d etail is p ar t icu lar ly d e s ign ed to ach ieve a s eam le s s t ran s it io n f ro m t h e co n crete “ linte l”, t h e co n crete f in is h e d ceilin g fo r t h e p e d est rain s walkin g alo n g t h e b u ild in g as we ll as t h e cast glas s facad e o n t h e gro u n d f lo o r.

I n s u late d co n crete b lo ckwo r k is in co r p o rate d in t h e t ran s it io n to p revent t h er m al b r id gin g an d a r igid in s u lat io n is u s e d to wrap aro u n d t h e u n d e rs id e o f t h e f lo o r s lab . To p re s er ve t h e s lee k co nt in u it y o f a p o lis h e d co n crete f in is h , a laye r o f 5 0 m m t h k co n crete is ap p lied .

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REFER E NC E D E TA IL - AM O R E PAC IFIC HEA DQUARTERS DAVI D C H I P P E RF IE L D

U s e d A m o re p acif ic as a star t in g p o int to in vest igate t h e st r u ct u ral co n n ect io n b et wee n t h e rei nfo rce d co n crete f lo o r s lab an d t h e ex te r n al lo u vers .

A d d it io n ally, t h is d etail als o info r m e d t h e u n d e r f lo o r h eat in g an d ve nt ilat io n system in my s ch e m e .

1 : 2 0 FO U NDAT I O N TO G RO U ND F LO O R DE TAI L

Waterp roofi n g a n d t h e p revent i on of b a c kfl ow of water i nto t h e b u i l d i n g i s a c h i eved w i t h a 1 5 0 m m fl oor h ei g ht d i fferen c e fu rt h er s u p p orted by a p eri m eter d ra i n w i t h t reated steel g rat i n g .

T h e overa l l h eat i n g a n d vent i l at i on st rateg y for t h e s p a c e wou l d b e a n i nteg rated u n d erfl oor h eat i n g a n d vent i l at i on system .

T h i s wou l d b e s u i ta b l e for a p otter y st u d i o w h ere h eat n eed s to b e even l y d i st ri b u ted to even d r y i n g of p ot s . O n e t h at wou l d n ot b e a c h i eva b l e w i t h ra d i ators .

E l ec t ron i c b l i n d s a re a l s o i nteg rated i nto t h e con st ru c t i on d eta i l for ea s e of u s er cont rol l ed d ay l i g ht a n d g l a re i s s u es .

HEATING AND VENTILATION

LIGHTING

ACOUSTICS

AMOREPACIFIC HEADQUATERS DAVID CHIPPERFIELD ARCHITECTS SEOUL, SOUTH KOREAN

NELSON ATKINS MUSEUM STEVEN HOLL KANSAS CITY, UNITED STATES OF AMERICA

KENNEDY CENTER EXPANSION STEVEN HOLL WASHINGTON D.C, UNITED STATES OF AMERICA

∂ 2007 ¥ 10

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A morepaci fi c by Davi d Ch i p p er f i el d i nteg rates i ts h eati n g a n d vent i l at i o n sys tem w ith i ts faca de, drawi n g cool a i r i n d u r i n g th e su m m er wh i l st ke e p i n g t h e cold out in the wi nte r wi th i ts m ec h a n i ca l venti l ati on system . In a d d i t i o n , t h e building is se r ved wi th a n u n d er f l oor h eati n g system w i th c ent ra l h e at i n g . T h i s would be pa rti cul a rl y re l eva nt to my s ch em e i n on l y h eat i n g s p a c e s t h at a re used. I n addi ti o n, the l o u vered fa ca d es red u c es sol a r h eat ga i n i n t h e o ff i c e by providing the ri ght a m o u nt of s h a d i n g a n d g l a re red u cti o n . T h i s p a s s i ve st rategy is suc ce ssful i n bo th a esth eti ca l l y, con c eptu a l l y a n d tec h n i ca l l y red u c i n g t he energy co nsumed i n th e b u i l d i n g . I t a l s o ser ves to h i d e t h e ve nt s u s e d to ex t ract coo l ai r a s i ndi cated i n th e p i n k b ox a b ove.

Wärmedämmung Glasfaser 92 mm zwischen Ständer Stahlprofil fi 92 mm Dampfbremse, Gipskartonplatte 16 mm Abhängung Stahlstab Ø 19 mm Stahlblech weiß lackiert 1,5 mm Dampfbremse Wärmedämmung 40 mm Heizungsrinne: Stahlblech perforiert 2 mm Heizung, Aluminiumblech lackiert 2 mm Akustikputz gesprüht ca. 3 mm Gipskartonplatte 12,5 mm, Dämmplatte 25 mm Unterkonstruktion Stahlprofil 35 mm Isolierverglasung: VSG 2≈ 4,7 mm + SZR 12,7 mm + ESG 6,3 mm Rahmen Flachstahl gestrichen 75 / 16 mm Stahlblech perforiert 6 mm Vegetationsschicht 200 mm, Kiesschicht Wärmedämmung Polyurethan 100 mm Drainagebahn, Dichtungsbahn Bitumen Stahlbeton 100 mm auf Trapezblech 90 mm

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92 mm glass-fibre thermal insulation between 92 mm steel channel posts vapour-retarding layer; 16 mm plasterboard Ø 19 mm steel suspension rod 1.5 mm sheet steel, painted white vapour-retarding layer 40 mm thermal insulation heating duct: 2 mm perforated sheet steel heating pipe; 2 mm sheet aluminium, painted 3 mm (approx.) spray-applied acoustic plaster 12.5 mm plasterboard; 25 mm insulation slab on 35 mm steel supporting structure double glazing: lam. safety glass (2≈ 4.7 mm) + 12.7 mm cavity + 6.3 mm toughened glass 3≈ 16 mm steel-flat frame, painted 6 mm perforated sheet steel 200 mm planted layer; bed of gravel 100 mm polyurethane thermal insulation drainage layer; bituminous sealing layer 100 reinforced concrete on 90 mm trapezoidalsection sheet metal

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T h e s c h e m e ’s a r t ificial light ing st rategies stem mainly for t he need to light up t h e b u i l d i n g s u bt ly. Mak ing t he appearance of a glowing vessels in t he dark i n d u st r i a l co ntex t . I n Steven Holl’s Nelson At k ins Museum, he achieved t his t h ro u g h t h e u s e of integrated recessed uplight at regular inter vals. T he light ca st wo u l d t h e n reflect off t he cast glass facde to create a diffused nat ural g l ow.

T here are t wo k inds of acoust ical t reat ment . One is abs o r ptive. Yo u can do t hat t hrough drapes, or wit h sound- absorbi ng mater ials like aco us t ical plaster. T hen t here are diffusing t reat ments , which are the re to break up t he sound so it doesn’t bounce back and fo r th.H owever, with t he bare aest het ic of raw concrete finish as a p ivo tal co ncept in this scheme, t he acoust ical design needed vast research.

I n Steven Holl’s Kennedy Center in Washington , the team fabr icate d and designed irregular “crink le” concrete moulds . Fo llowing fabr icati o n, the rubber molds were t ransported to t he const ructio n s ite and fastened to t he rest of t he formwork prior to t he concrete po ur. To avo id the vis ible repet it ion of t he crink led pattern across t he per fo r mance s paces , t he const ruct ion team flipped and rotated t he r ubbe r mo lds .

T he result is a remarkably detailed concrete finis h with laps o f light and shadow t hat not only acoust ically dampens t he s pace but is inte grate d into t he complex ’s overall st ruct ure.

T he scheme houses ceramicist , in which t he potter y wheel wo uld pro duce v ibrat ions and echos in t he st udio. To red uce this aco ustic impact, t he precedent above by Steven Holl looks at casting co ncrete pane ls that diffuses sound t hrough it s deep creases and irregular s ur faces . Al tho ugh t his is a ver y st rong design decision t hat may per haps go against the scheme’s minimal and light aest het ic. T his design pie ce co uld pe r haps be a incorporated into t he st udios as a feat ure wall. Gre atly reducing t he acoust ical challenges small st udios faces.

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