DISTRIBUTING SURPLUS
- EMPLOYEE SHARED OWNERSHIP
- OWNING IN REGARD TO RETIREMENT
- ESTABLISHING COOPERATIVES
- SURPLUS OF PROFITS USED TO ACHIEVE SOCIAL AND ENVIRONMENTAL GOALS
INVESTING IN OTHERS
- INVESTMENT INTO PEOPLE AND THE PLANET
- CREDIT UNIONS AND COMMUNITY-BASED INSTITUTIONS TO DEPOSIT MONEY
- WHERE IS SUPERANNUATION INVESTED (ETHICAL INVESTMENTS)?
- IMPROVE PEOPLE'S QUALITY OF LIFE
- PEER-TO-PEER FINANCE
COMMONING
- MANAGING AND PRESERVING SHARED RESOURCES
- THE THREAT OF PRIVATIZATION
- PRIORITIZE COMMUNITY WELL-BEING
- OPEN ACCESS RESOURCES
ENCOUNTERING OTHERS
- REINTERPRET THE NOTION OF PROFIT
- CAPITALISM WIDENS SOCIOECONOMIC GAPS
- SURPLUS CAN BE GREATLY SHARED
- DISTRIBUTING WEALTH FOR MUTUAL BENEFIT INSTEAD OF PERSONAL GAINS
A commons is a collectively shared resource or asset utilized and managed by a community or society for their mutual benefit.
SURVIVING WELL TOGETHER
- PRIORITIZE EQUITABLE AND SUSTAINABLE WORK PRACTICES.
- DEMOCRATIZING ECONOMIC ACTIVITIES
- PROMOTE WORKER COOPERATIVES
- FAIRER AND MORE INCLUSIVE ECONOMY
- A space of residence alongside spaces of production and consumption.
- Addressing the climate emergency by dealing with common existential challenges faced by our planet.
- 5 principles that confront the key actual academic, societal, disciplinary, individual and relational concerns.
Five fundamental principles that address pressing academic, societal, disciplinary, individual, and relational issues.
CREATIVE CULTURES
USE ETHICAL PRACTICES AND WELCOME DIFFERENCE
CREATIVE USERS
INCLUDE DIFFERENT ACTORS AND COMMUNITIES
CREATIVE PLACES
PROTECT AND PRODUCE COMMONS
CREATIVE PROGRAMMES
PROMOTE CULTURAL, SOCIAL, POLITICAL AND ECONOMIC CONDITIONS
CREATIVE RESOURCES
USE SOCIAL AND ECOLOGICALLY JUST METHODS, MATERIALS & LABOUR
THESE 17 INTERRELATED GOALS REPRESENT AN AMBITIOUS AGENDA TO ACHIEVE A SUSTAINABLE FUTURE BY 2030. EVERY DESIGN HAS A ROLE TO PLAY IN ALL OF THEM. I HAVE CHOSEN TO FOCUS ON THE 7 HIGHLIGHTED ABOVE BASED OF INSIGHTS FROM THE & COMMON PRINCIPLES:
DEMOGRAPHIC MAPPING OF SHEFFIELD: Based on the 5 studied chapters of 'take back the economy'
HIGH UNEMPLOYMENT:
Take back the economy (T.B.T.E) finance chapter gives examples of turning a skill/hobby into a new economic activity.
SOCIAL GRADE:
T.B.T.E Business chapter explains the mutual benefit of starting a cooperative. Design to help all social grades co own.
HOUSING:
T.B.T.E Property chapter prioritising shared resources and minimising privatisation. Co-living as an example of commoning.
SUN PATH & WIND MAP
THE PRIMARY EMPHASIS LIES IN ESTABLISHING A PIVOTAL SITE DEDICATED TO CULTIVATING A COMMONS—A HUB INTENDED TO IMPART ESSENTIAL SKILLS AND KNOWLEDGE, FOSTERING PERSONAL GROWTH FOR INDIVIDUALS AND CONTRIBUTING TO THE ADVANCEMENT OF THE COMMUNITY.
PUBLIC TRANSPORT
HIGH CRIME RATES
DEVELOPMENT
GREEN SPACE
BROWNFIELD SITES
WATER
CADS LOCATIONS
FOODWORKS LOCATIONS
Vertical task mapping the extended site: Wider Sheffield.
UPON PHYSICALLY MAPPING OUT WIDER SHEFFIELD ON A LARGE PRINT, WE’VE UNEARTHED ADDITIONAL POINTS OF INTEREST IN AND AROUND THE SITE. THIS COMPREHENSIVE EXPLORATION HAS PROVIDED A BETTER INTERPRITATION OF PREVALENT TRENDS WITHIN THE CITY. CONSEQUENTLY, IT HAS ENHANCED OUR UNDERSTANDING OF HOW THE PLACEMENT OF SPARTAN WORKS ALIGNS WITHIN THE SITE’S CONTEXT.
PRODUCTION
BROWNFIELD SITES
4 key maps from the wider mapping that relate to my desire to
SPARTAN WORKS IS AN ENTICING SITE DEEPLY ROOTED IN INDUSTRIAL HISTORY, REFLECTING THE AREA'S MANUFACTURING HERITAGE. ITS HISTORICAL SIGNIFICANCE AND PAST INDUSTRIAL USE CONTRIBUTE TO A DISTINCTIVE NARRATIVE.
ITS CONNECTION TO THE TINSLEY CANAL OFFERS PROSPECTS FOR INNOVATIVE AND SUSTAINABLE DEVELOPMENT, INCLUDING ALTERNATIVE TRANSPORTATION METHODS AND REVITALIZATION INITIATIVES.
DUE TO ATTERCLIFFE'S HISTORICALLY RICH SURROUNDINGS, SPARTAN WORKS HOLDS PROMISE FOR URBAN REJUVENATION.
HISTORICAL TIME LINE OF SPARTAN WORKS
1629 - ATTERCLIFFE CHAPEL BUILT
1819 - TINSLEY CANAL OPENED
EARLY 20TH CENTURY - LARGE RESIDENTIAL BOOM
POST WWII - DECLINE IN HOUSING AND INDUSTRY
1971 - SPARTAN TOOK OVER THE BUILDING
1086 - SHEFFIELD MENTIONED IN THE DOOMSDAY BOOK
1984 - TAKEN OVER BY 3 SENIOR MANAGERS
EARLY 19TH CENTURY - SMALL SCALE MANUFACTURING
1870 - ATTERCLIFFE ROAD RAILWAY STATION BUILT
EARLY 20TH CENTURY - HIGH
CLASS SHOPS ENTER SHEFFIELD
1960 - SITE OWNED BY ARTHUR LEE & SONS (WIRE MILL)
TODAY - PLANNING APPLICATION FOR A MIX USE DEVELOPMENT
TODAY - STEELWORKS TODAY
1971- STEEL PRODUCTION
1984- 20% PERFORCE CUT
(SHEFFIELD FORUM, 2023)
CADS IS A COMMUNITY ECONOMY BECAUSE IT REDISTRIBUTES SURPLUS BACK INTO THE BUSINESS. THE BUSINESS HELPS THE ECONOMY BECAUSE IT IS A CHARITABLE ORGANISATION THAT PRIORITISES PEOPLE AND THE NEEDS OF THE COMMUNITY.
KEY POINTS TAKEN FROM INTERVIEW WITH CADS. THIS SITE WAS A STEEL MANUFACTURING BUSINESS THAT WAS WORKING UNTIL 2015 AND HAS NOW BEEN TAKEN OVER BY CADS WITH A 15 YEAR LEASE. LOCATED IN ATTERCLIFFE.
OFFICES RE-PURPOSED INTO INDIVIDUAL STUDIOS. WITH A PRIORITY TO PROMOTE AND SUPPORT ARTS IN SHEFFIELD. THEY DO THIS BY GIVING ARTISTS A SET MONTHLY RATE, UNDER MARKET VALUE AND FLEXIBLE TERMS. ARTISTS HAVE THE ABILITY TO ADAPT STUDIOS TO INDIVIDUAL NEEDS.
A LACK OF DISABLED ACCESS AND EXHIBITION SPACE WERE TWO KEY POINTS THAT EAGLE WORKS DOESNT OFFSER TO ITS ARTISTS.
Investment into People and the Planet:
- Re purposing office blocks into art studios in forgotten areas, focusing on sustainability and community uplifting.
- Implementing environmentally conscious practices within the studios.
Credit Unions and Community-Based Institutions:
- Partnering with local credit unions and community institutions for funding and deposits, supporting grassroots economic growth.
- Encouraging community investment in the project through these channels.
Superannuation Investments (Ethical Focus):
- Committing superannuation funds to ethical projects that revitalize communities and promote art and culture.
- Ensuring investments align with socially responsible practices.
Improving Quality of Life:
- Transforming spaces into accessible studios, enhancing opportunities for artists and contributing to cultural development.
- Installing convenient amenities like sinks in creative spaces for better functionality.
Peer-to-Peer Finance:
- Exploring peer-to-peer finance models to directly involve the community in funding creative initiatives.
- Creating platforms for community members to invest in and support artistic projects.
COMMUNAL LIVING IN THE BUILD PROVIDES A ROOM FOR EACH OF THE PROCESSES. THE ROOM IS GIVEN TO YOUNG APPRENTICES AND FIRST TIME WORKERS TO REDUCE DEMAND IN THE HOUSING MARKET AND PROMOTE CO LIVING.
COMMUNAL LIVING as a commons
ART as a commons
PRODUCTION as a commons
COMMUNAL LIVING WITHIN MY INTERVENTION PRESENTS A HOST OF BENEFITS FOR PARTICIPANTS ENGAGING IN DIVERSE 'COMMON' ACTIVITIES, AS ILLUSTRATED IN COLLAGES. ART AS A COMMONS STANDS OUT FOR ITS INCLUSIVE NATURE, UNITING PEOPLE OF VARIED BACKGROUNDS, ABILITIES, AND SKILLS THROUGH THE COMMUNICATIVE POWER OF ARTISTIC EXPRESSION. THIS FOSTERS CONNECTION AND UNDERSTANDING AMONG COMMUNITIES.
LIKEWISE, THE CONCEPT OF PRODUCTION AS A COMMONS HOLDS SIGNIFICANCE BY INVOLVING INDIVIDUALS IN INCLUSIVE AND COLLABORATIVE ACTIVITIES. EMPHASIZING SUSTAINABILITY, THIS APPROACH EMPHASIZES CYCLIC PROCESSES, WHERE ONE'S OUTPUT SERVES AS ANOTHER'S INPUT, PROMOTING RESOURCE EFFICIENCY AND RESPONSIBLE CONSUMPTION. OVERALL, THESE COMMON ACTIVITIES PROMOTE INCLUSIVITY, CREATIVITY, AND SUSTAINABLE PRACTICES WITHIN COMMUNAL LIVING SPACES.
WORKERS AT THE RECYCLING CENTRE:
YOUNG INDIVIDUALS (18-25) ENTERING THE WORKFORCE FOR THE FIRST TIME PROVIDED WITH ROOM AND EN-SUIT AND ARE TAUGHT CRUCIAL SKILLS TO PROGRESS IN THERE CAREERS.
COMMERCIAL WASTE OPERATOR:
APPRENTICES (18-25) ARE PROVIDED A ROOM TO WORK WITH OPERATORS AND GAIN NICHE EXPERIENCE INCREASING FUTURE EMPLOYABILITY.
YOUNG ARTISTS (18-25) CO-LIVING ENCOURAGES CREATIVE THINKING AND THE USE OF SHARED RESOURCES, LIMITING WASTE AND PROMOTING CIRCULAR ECONOMY ACTIONS.
YOUNG SCULPTORS (18-25) CO-LIVING ALSO INSPIRES CREATIVE THINKING AND CAN TEACH ON MATERIALITY AND HOW TO MANIPULATE A MATERIAL FROM ITS ORIGINAL PURPOSE TO ANOTHER
AFTER A CONVERSATION WITH CADS IT IS MY UNDERSTANDING THAT THEY DONT HAVE THE ABILITY TO PROVIDE DIABLED ACCESS DUE TO THE FACT THEY ARE REUSING OLD BUILDINGS. IT IS BECAUSE OF TIS THAT I WANT MY BUILDING TO BE EASILY ACCESSIBLE TO ALL.
COMMUNICATION
THERAPEUTIC
ADVOCACY
AWARENESS
INCLUSIVE
ADAPTIVE
HEALING
CELEBRATE DI-
SPEECH AND LANGUAGE:
DUE TO THE RANGE OF PEOPLE THAT ENTER SITE IT CAN BE DIFFICULT FOR PEOPLE WITH SPEECH AND LANGUAGE LIMITATIONS AND DISABILITIES. ART AND SCULPTURE TRANSCENDS LANGUAGE BARRIERS.
NON-VISIBLE IMPERILMENTS:
THERE IS A WIDE RANGE OF DISABILITIES THAT AREN'T VISIBLE. USING SCULPTURE AND PROCESS AS A LEARNING TOOL A GALLERY CAN BECOME A WELCOMING AND ADAPTED ENVIRONMENT TO ALL.
PHYSICAL DISABILITIES:
WHEELCHAIR USERS, AND THOSE WITH LIMITED ABILITY SHOULD BE ABLE TO VIEW ART, SCULPTURE AND PROCESS IN THE SAME WAY AS OTHER VIEWERS WHILST ALSO BEING ABE TO PARTICIPATE IN ALL ACTIVITIES.
VERSITY
PROFESSIONALISM
PLATFORM FOR DEVELOPMENT
PLATFORM FOR VIEWING ART.
IN 2021/22, the Department for Work and Pensions' Family Resources Survey states that approximately 16.0 million people in the UK were recorded as having a disability. (24% of the population).
ARTWORKS: SOUTH YORKSHIRE
Disability Sheffield is one of the few corporations in Sheffield that work to help those with a range of disabilities. This includes the city council who also aims to help those with disabilities.
ARTWORKS IS A PLATFORM THAT PRIORITIZES ACHIEVEMENT, SELF-BELIEF, COLLABORATIVE PRACTICES, AND TEAMWORK, EMPOWERING ARTISTS TO ACTIVELY ENGAGE IN THEIR COMMUNITY. THROUGH THEIR INITIATIVE, THEY STRIVE TO DEFY SOCIETAL PERCEPTIONS SURROUNDING LEARNING DISABILITIES AND AUTISM BY HIGHLIGHTING THE REMARKABLE CREATIVITY AND ASPIRATIONS OF ARTISTS.
CELEBRATING THEIR TALENTS, AIMING TO RESHAPE PERSPECTIVES AND FOSTER A MORE INCLUSIVE UNDERSTANDING OF ARTISTIC CAPABILITIES WITHIN THESE DIVERSE COMMUNITIES. (ARTWORKS, NO DATE)
A DIAGRAM MAPPING INITIAL SITE OPPORTUNITIES & MOVEMENT AROUND SITE.
A WALK ALONG THE CANAL: COLLAGE
GRADE II LISTED BUILDINGS (INTERESTING VIEW FROM ROAD)
SPARTAN WORKS ENTRANCE (INTERESTING VIEW FROM ROAD)
CATHOLIC CHURCH & SCHOOL - POTENTIAL USERS OF THE COMMONS
3& PRIMARY LOCATIONS
RESIDENTIAL FLAT POTENTIAL
EXISTING BUILD
PARKING
CENTRAL LOCATIONS
GREEN SPACE
The Prototype Performance space is a 4x4m mock up space designed to fit the needs of an economic actor of Sheffield. A space where one can perform their services to the community in the most efficient way from a structure that isn't permanent and can be disassembled and reassembled. The aim is to create a commons in a privately owned space.
- CADS focuses on creating art studios in forgotten areas of Sheffield.
- Emphasis on convertible space for flexible use.
- Lighting enhancements to facilitate artistic activities and creativity.
PROGRAMME AND SPACE RELATION
- 4M X 4M FOOTPRINT
- CADS LACK OF EXHIBIT SPACE IN EAGLE WORKS.
- COMBINING ECONOMIC ACTOR AND INDIVIDUAL LIVING
- UNIT FOR A WORKER AND ARTIST.
- INVEST IN PEOPLE/QUALITY OF LIFE (FINANCE T.B.T.E)
FIRST ITERATION OF PLANS AND SECTIONS FOR PPS.
STRUCTURE: LITTLE DAMAGE TO SURROUNDINGS
BEING RAISED
SIZE = 61.2M SQUARED
LIVING AREA = 24M SQUARED
KITCHEN/LIVING AREA, TOILET & BEDROOM. SPACE FOR ACTIVITY ON THE DECKING.
METAL PIPES SOURCED FROM DISUSED OIL PIPES
RECYCLED CORRUGATED IRON
CONCRETE
STRUCTURE:
BEHIND THE FRONT ELEVATION IS THE STRUCTURE OF THE INDIVIDUAL PODS, HELD UP BY FRAMEWORK. THE PODS ACT AS HOSTEL ROOMS, BATHROOMS AND CIRCULATION SPACE.
THE STRUCTURE OF THE LIVING ROOM IS BASED ON THE TWO BUILDINGS PARALLEL TO IT.
THE ROOF ISN'T ATTACHED TO ALL WALLS LEAVING A GAP FOR TREES TO GROW IN THE COURTYARD.
RECYCLED CLADDING, WOODEN BOARDS AND CORRUGATED METAL
BOARD FORMED CONCRETE
METAL STRUCTURAL SUPPORT.
SIZE = 30M SQUARED
URBAN LIVING ROOM TRANSITIONS INTO LIVING AREA AND ACTS AS A SEMI PUBLIC SPACE.
PRIMARY TAKEAWAYS FROM PRECEDENT ANALYSIS
MATERIALITY: THE USE OF RECYCLED MATERIALS MOST NOTABLY CORRUGATED IRON, FOR CLADDING IS A POINT OF INTEREST.
OUTDOORS IS AN EXTENSION OF LIVING:
A GOOD PREMISE FOR A SMALL SCALE DESIGN BUT HAS TO BE ADAPTABLE TO SHEFFIELD’S CLIMATE.
SCALE: BOTH PRECEDENTS ARE SMALL SCALED PROJECTS. I CAN USE THEM AS A TEMPLATE FOR A PLAN IN A 4X4M FLOOR PLATE
USER = LIVING AND WORKING IN ONE SPACE. IN A 4X4M SPACE IT CAN’T BE MORE THAT ONE PERSON IN THE SPACE.
POINT OF INTEREST:MICRO HITONG’S WINDOW SHUTTERS FROM RECYCLED CLADDING. THIS GIVES THE EFFECT OF EXTENSION AND OUTDOOR AS AN EXTENSION OF LIVING.
TO DO THIS IN A 4X4M SCALE DESIGN THE SIMPLEST SELF CONSTRUCTABLE METHOD WOULD BE TO USE SIPS PANELS WITH PRE CUT OUT ROTATING DOORS.
KEY DEVELOPMENT STRATEGIES HAVE BEEN THE EXAMINATION OF PUBLIC AND PRIVATE IN SUCH A SMALL SPACE & THE ABILITY TO MANIPULATE A SPACE ACCORDING TO ENVIRONMENT, OPENING AND CLOSING OF THE SURROUNDING SPACE.
DOOR FRONT ELEVATION RIGHT ELEVATION
LAYER
A KEY DETAIL OF MY P.P.S. IS THE PIVOTING DOORS THAT ARE CUT OUT OF THE SIPS PANELS.
SET ON A POLES THAT ALLOW THE SIPS PANELS TO ROTATE 90 DEGREES. THIS OPENS THE GROUND FLOOR TO THE OUTDOORS CREATING A LARGER GALLERY.
RECYCLED MATERIAL AS A CLADDING.
The purpose is to demonstrate how one can recycle material. Displaying a circular economy in its most raw form (construction waste can be used as an input into another construction).
MY P.P.S RESPONDS BEST TO CP3 & CP5 (USERS AND RESOURCES) AND I NEED TO FOCUS MORE ON CP2 AND CP4 (USERS & PROGRAMMES) FOR IT TO MAKE A CREATIVE COMMONS.
I WANT TO KEEP THE THEME OF RECYCLED MATERIAL AND MAY USE IT AS CLADDING BUT NOT TO COVER THE ENTIRE BUILD BUT RATHER AS A POINT OF INTEREST.
KEEPING RESIDENTIAL PROGRAMMED ON HIGHER FLOORS AWAY FROM PUBLIC AND NOISE.
OPPORTUNITIES FOR COMMONS ON THIS SITE VARY DEPENDING ON THE LOCATIONS.
AFTER OUR VERTICAL MAPPING WE CREATED A COMMON PLAN IN OUR VERTICAL GROUPS TO MAKE A FIRST MASTER PLAN FOR SITE.
ENTRANCES & EXITS TO SITE
5& PRIMARY LOCATIONS
3& PRIMARY LOCATIONS
PUBLIC/PRIVATE DIVIDE
EVENT SPACES
GREEN SPACE
FOODWORKS
TEA ROOM
REST SPACE
EDUCATION CENTRE
MEETING ROOM & EMERGENCY HOUSING
CADS EXHIBIT AND ENTRANCE PLAYGROUND
CADS ART EXHIBIT AND STUDIO
A MASTER-PLAN THAT MAPS THE 5 INTERVENTIONS IN OUR GROUP AND HOW THEY RELATE TO ONE ANOTHER.
BIGGEST EFFECTS ON MY INTERVENTION.
A GALLERY OF PRODUCTION: Art/education/community owned/ industrial/sculptural/ waste to product.
MICHELIN STAR RESTAURANT: Local food/production/community lead/community owned/ high quality/ waste to product.
PRODUCTION FROM WASTE:
Jewellery making/ educating/apprenticeship/imports from local waste.
EDUCATION CENTRE: youth learning/living/theatre space/ multifunctional.
A wide demographic of people are catered for on the site including refugees, youths, workers & high class diners. I need to make sure my gallery educates and is accessible to all. Making it clear and easy to follow for younger visitors whilst catering to the intellect of older visitors.
REFUGEE LIVING: The value of the refugee/make a cooperative.
STRENGTHS:
- Canal next to site leads to material transport opportunity & protects that side of the site.
- Circulation around the site following the Canal route.
- Central location meaning site users will likely cross paths with it.
- View onto the canal & the brownfield site opposite (with potential to develop into a park with better views).
- If it is a taller building at the back of the site entrance will draw people in peaking curiosity.
- Main road provides direct access means a lot of people will view it.
- Scenic route behind the build (canal walk) for quieter access.
WEAKNESSES:
- Brownfield sites are neglected current day (09/11/23).
- Distances to other buildings if needed for storage may be too far.
- Potential flooding risk.
- Not Much greenery surrounding it.
OPPORTUNITIES:
- Expansion into Brownfield site (could be used as another view point to draw site).
- Planting greenery on the roadside and in site to lower carbon footprint/reduce noise pollution from the road and improve experiences.
- Bridge further downstream brings more connections and accesses to site if needed.
THREATS:
- Brownfield site = potential building site,
- Flooding risk on site.
- Potential factory across the river.
INITIAL CONCEPT IS A GALLERY THAT DISPLAYS PROCESS. AS YOU WALK THROUGH YOU CAN SEE THE ART BUT CAN ALSO WATCH ART BEING MADE.
THE ART CAN ONLY BE MADE FROM CONSTRUCTION WASTE. INITIALLY THE PROCESS WOULD SHOW CREATING CHARCOAL FROM WOOD, CREATING OIL PAINTS FROM CRUSHED MASONRY AND USING METAL AS A CANVAS.
COLLAGE OF PROGRAMME AFTER P.P.S.
TRANSLATING
A GENERAL COMPOSITION OF CONSTRUCTION & DEMOLITION WASTE
2%
SAND & GRAVEL
BRICK & MASONRY 31%
FROM DEBRIS TOO DESIGN
Using recycled material as an aesthetic cladding: scaled up to using construction waste as an aesthetic creative material in art & sculpture.
DESIGN TO CREATE A COMMONS THAT USES LOCAL CONSTRUCTION AND DEMOLITION BRICK, GRAVEL AND CONCRETE WASTE TO CREATE ART AND SCULPTURE.
A PLACE OF EDUCATION, COMMUNITY, OPEN ACCESS, RECYCLING, COMMUNITY LEAD. BENEFITING THE COMMUNITY IN MULTIPLE WAYS ( BY REUSING LOCAL CONSTRUCTION WASTE AND PROVIDING THE ABOVE TO THE COMMUNITY.
INITIAL RESPONSE TO SITE: FORM TAKEN FROM SHAPE USED FOR MASTER-PLANNING.
MASSING MODEL SKETCH SECTION
THIS DESIGN WAS TAKEN FROM THE SHAPE USED IN MASTER-PLANNING WORKSHOP. IT HAS BEEN EXTRUDED FROM A 2D SHAPE TO MAKE AN INTERESTING COMPLEX FORM. I WAS DRAWN TO THIS SHAPE BECAUSE OF THE OPPORTUNITIES IT BRINGS IN PLAN.
GROUND FLOOR FIRST FLOOR
SECOND FLOOR THIRD FLOOR
IN PLAN THIS SHAPE BRINGS OPPORTUNITY FOR GREEN COURTYARDS IN-BETWEEN THE EXTRUDED FORMS. THIS THEN COULD ACT LIKE THE P.P.S PRECEDENTS BY USING OUTSIDE AS AN EXTENSION OF LIVING. BECAUSE IT PROVIDES OPPORTUNITY TO ADD ROTATING DOORS AND WALLS MUCH LIKE IN MY P.P.S.
THE COMPLEX FORM ISN'T EFFICIENT IN PRACTICE. IT REQUIRES CUSTOM FURNITURE, STRUCTURE AND BUILDING TECHNIQUES AND ONCE EXTRUDED IT DOESN’T HAVE THE SAME EFFECT AS IN PLAN.
RESPONSE TOP COMMON PRINCIPLES:
This first iteration responds well to CP3 (creative places) and CP5 (creative resources) and quite well to CP4(creative programmes) but doesn't as well to CP1&2 (creative cultures & users) so its important to focus on the user and cultures in the next iteration.
DUE TO MASONRY BEING ONE OF THE LARGEST WASTE PRODUCTS OF CONSTRUCTION AND DEMOLITION WASTE I'VE USED THE BEGINNING OF THE PROCESS OF BREAKING IT DOWN AS FORM PRESIDENT.
GROUND FLOOR FIRST FLOOR SECOND FLOOR THIRD FLOOR
GORDEN CULLEN INSPIRED DRAWINGS OF A CRUSHED BRICK DESIGN.
SECOND FLOOR RECYCLING CENTRE
DUE TO THE REQUIREMENTS OF THIS BUILD IT 200M2 IS NEEDED IN THE NEW BUILD FOOTPRINT. THE BUILD EXPANDS FURTHER INTO EXISTING BUILDINGS THAT ARE OUT OF USE.
POINTS OF INTEREST INCLUDE: Bridge detailing, double height space, recycling centre & connection to new build.
RESPONSE TOP COMMON PRINCIPLES:
My second iteration responds well to CP1, CP3 and CP5 but doesn't as well to CP2 & CP4 which means I still need to emphasise the user, looking at precedents of tours of production to help this. CP4 ( creative programmes will follow by focusing on the users experience to promote cultural, social, political and economic conditions.
A KEY ELEMENT OF THE BUILDING IS HOW IT INTERACTS WITH THE USER. THERE ARE TWO PRIMARY USERS: THE PUBLIC VISITOR AND THE WORKER. ON AN INDUSTRIAL SITE IT IS ESSENTIAL TO CONSIDER ACCESS & INTERACTION THROUGHOUT THE BUILD.
PROGRAMME: USERS
Public vs private
The public has access to view the main processes up close including some interactive lessons.
PLANS FOR THE SITE SURROUNDING THE INTERVENTION.
SCULPTURE GARDEN
A SCULPTURE GARDEN THAT DISPLAYS THE PIECES CREATED IN THE GALLERY ALONGSIDE THE PATHWAYS AROUND SITE.
SCULPTURES WOULD BE MORE DENSELY PACKED IN THE SPACE HIGHLIGHTED IN YELLOW BUT WOULD GRADUALLY EXPAND TO BE PLACED ALL OVER SITE.
DEMOLITION SITES
IMPORT MACHINERY
SCULPTURE GARDEN
CONSTRUCTION SITES
GREEN SPACE
SIGHTSEEING FACTORY IN CHINA CELEBRATES THE HERITAGE OF RED VINEGAR. IT CONNECTS ITS VISITORS TO THE "INTANGIBLE CULTURAL HERITAGE" ASSOCIATED WITH HAND CRAFTING RED VINEGAR. WATCHING PEOPLE THROUGH A PROCESS.
LAYERED 1ST FLOOR AND 2ND FLOOR PLANS: TO UNDERSTAND THE ROUTE OF THE USER & THE ROUTE OF PROCESS
PUBLIC ROUTE
DOUBLE HEIGHT
PRIVATE SPACE
IMAGES OF INSIDE THE FACTORY: KEY ELEMENTS THAT INSPIRE MY DESIGN PROCESS ARE THE WAY THAT THE USER VIEWS THE PROCESS THAT IS HAPPENING. WATCHING PRODUCTION.
SPACIAL ADJACENCY DIAGRAM TAKEN FROM PLANS: THIS MAPPING OF THE FACTORY SHOWS THE WALKWAYS, AREAS OF PRODUCTION, FLOORS AND LEVELS.
ARCHITECTS PLANS
PLAN DRAWN FROM VISIT (NO SCALE)
RENUE HUB, LOCATED NEAR THE TRAFFORD CENTRE, MANCHESTER IS A LARGE RECYCLING, REUSE AND RENUE HUB. THE HUB ALSO INCLUDES AN EVENT SPACE AND A TOUR SHOWING THE PROCESS OF HOW ''RUBBISH'' CAN BE TRANSFORMED INTO A REFURBISHED PRODUCT.
BASIC SECTION TO SHOW RENUE HUB IS SPLIT
DESIGNED BY SELLDORF ARCHITECTS 12" CAST IN PLACE CONCRETE
BORED FORMED FINISH
A STRUCTURE WITH A CONCRETE ROOF HELD UP BY CASTELLATED STEEL BEAMS, BOLSTERED BY STEEL GIRDERS AND COLUMNS. THE BUILDING IS UPHELD BY PILES FIRMLY DRIVEN INTO THE BEDROCK.
BRICK HOUSE
DESIGNED BY A FOR ARCHITECTURE
SOLID MASS OF BRICK MEETS EXPOSED CONCRETE. BLACK GRANITE FLOOR TIES THE NATURAL MATERIALS TOGETHER.
THE BUILDING'S FOCUS ON PROCESSING BRICKS AND CONCRETE HAS GUIDED ITS DESIGN THEME TOWARD BRICKS. IT IS A DELIBERATE RESPONSE TO THE ACCUMULATION OF UNUSED CONSTRUCTION WASTE, HIGHLIGHTING THE NEED FOR A SHIFT IN HANDLING SUCH SURPLUS MATERIALS.
PILED UP BRICKS AS A FORM REPRESENT BOTH DEBRIS & DESIGN
THE BEST ITERATIONS FROM MASSING MODELS
USING SKETCH PLANS I HAVE ANALYSED EACH FLOOR IN COMPARISON TO BUILDING REGULATIONS PART B, PART K & PART M BEFORE FINALISING THE PLANS.
THIS PROCESS HAS LEAD TO THE EXPANSION OF SOME ENTRANCES, THE ADDITION OF FIRE DOORS ON THE GROUND FLOOR & AN EXTERNAL FIRE STAIR CASE
PART B: FIRE ESCAPES ( STAIRWELLS)
PART B: FIRE ESCAPES (LIFTS)
PART B: FIRE ESCAPES (EXITS)
PART B: FIRE ESCAPES THAT NEED TO BE ADDED
PART B: SPRINKLER SYSTEM INSTALLED
PART M: DISABLED FACILITIES
PART M: AREA FOR TURNING CIRCLES
PART M: INACCESSIBLE FOR WHEELCHAIR USERS
PART M: WALKWAY ACCESS
PART M: EDITED TO ALLOW FOR BETTER ACCESS
PART K: STAIR BANISTERS PROTECTING FROM FALLING
PART K: BANISTERS BY DOUBLE HEIGHT SPACES.
DESCRIPTIVE INTERIOR VIEWS
INTERIOR VIEW OF THE ENTRANCE
INTERIOR VIEW OF GALLERY SPACE
INTERIOR SKETCH OF THE GALLERY
1. KEEP EXPERIMENTING WITH DOUBLE HEIGHT SPACES AND HOW PUBLIC VIEW THE GALLERY.
2. ZOOM INTO THE DETAIL OF THE WALKWAYS BETWEEN EACH SECTION.
3. EXPAND RESIDENTIAL AREA WHERE POSSIBLE.
4. ZOOM INTO CLADDING DETAILING.
5. EXPERIMENT WITH PART L AND ENERGY USAGE IN AN INDUSTRIAL BUILDING.
BIBLIOGRAPHY
ArtWorks South Yorkshire | About (no date) artworks-sy. Available at: https://www.artworks-sy.co.uk/about (Accessed: 10 January 2024).CADS (no date)
C A D S, C A D S. Available at: https://www.cads-online. co.uk/ (Accessed: 4 December 2023). Spartan steel works (2023) Sheffield Forum. Available at: https://www.sheffieldforum.co.uk/topic/260218-spartan-steelworks/ (Accessed: 7 December 2023).
FIGURE B: ADOBE (no date) workers talking in recycling factory,a worker who recycling thing on recycle center,engineers standing in recycling center Stock Photo, Adobe Stock. Available at: https://stock.adobe.com/uk/images/workers-talking-in-recycling-factory-a-worker-who-recycling-thing-on-recycle-center-engineers-standing-in-recycling-center/323273535?asset_id=323273535 (Accessed: 10 January 2024).
FIGURE A:CADS (no date) C A D S, C A D S. Available at: https://www.cads-online.co.uk/.CONCRETE CRUSHER (no date)
FIGURE C:Concrete Crusher Hire | Concrete crusher hire covering London, Middlesex, Berkshire, Surrey and surrounding areas, www.concretecrusher.co.uk. Available at: https://www.concretecrusher.co.uk/ (Accessed: 10 January 2024).
FIGURE E:Spencer, B. (2013) Brad Spencer - Brick Sculpting, www.youtube.com. Available at: https://www.youtube.com/watch?app=desktop&v=Un-q7v-75O8 (Accessed: 10 January 2024).
FIGURE D: VECTEEZY (no date) Download Young couple working on a painting at the Art Studio together for free, Vecteezy. Available at: https://www.vecteezy.com/video/33293296-young-coupleworking-on-a-painting-at-the-art-studio-together (Accessed: 10 January 2024).