Design Development

Part II

Fig.81 Concept diagram

DESIGN DEVELOPMENT

Initial Massing

The key idea of 2 main spaces: the church sanctuary and community hall has remained constant throughout. Shown are development sketches and models demonstrating the progression of ideas.

Figs.82-84 Initial massing plans + models

Key ideas: • 2 Key spaces; church (north), community centre (south) • 2 Main axis’, ensuring previously used routes are not cut off • Widen lane along east side of building

Fig.85 Initial 1:500 model

DESIGN DEVELOPMENT

Further Massing Development

Key ideas: • Centralised cafe area • Keep noisy activities to the south • Quiet church and faith spaces to the north, away from any vehicle access • Clearer, separate massing forms from exterior • Asymmetric church roof

Things to change: • Group hall and changing together • Create a main entry point

Fig.86 Further development plans

Figs.87-90 Further development models

DESIGN DEVELOPMENT

Mistakes to Learn From

After further development, the form and plans of my space had to be evaluated and adapted to continue. Key points in which needed improving upon were as follows: • Entry into church • Proportions of hall to circulation space • Outdoor space • Roof form

Fig.91 Further development plans

S E C T I O N S K E T C H D E S I G N

Figs.92-94 Further development model and section

DESIGN DEVELOPMENT

Simplification of Plan

Figs.95-97 Simplified plans

Once the floor plans had been broken down into their key primary, secondary and tertiary elements as well as clarifying the circulation within the space, the key diagram was allowed to be formed. Highlighting the key spaces and the routes around the site. The location of the main entrance was formed at the intersection of circulation routes. This was in the centre of the building and created a point in which all users of each space could interact within.

Fig.98 The key diagram

DESIGN DEVELOPMENT

Diagram Development

The hierarchy of spaces was adapted into the plans and all secondary elements grouped together at the building core’s. K E Y S P A C E S M A S S I N G M O D E L 1 : 2 0 0 R O O F P L A N The location of building core’s were to be established. The main central staircase sat alongside the lift core in the entrance foyer. Changing and store rooms were also grouped alongside the community hall. A journey leading up to the church was created, with supporting window seats for visitors to sit and wait before a service. This journey up to the church sanctuary space created a sense of drama and anticipation before entering the large, double height space. Voids were also developed over the entry foyer so that visitors noticed the sense of scale when entering the space. This also allows for views up to the cafe mezzanine level, attracting them to travel upstairs for a coffee.

P R I M A R Y / S E C O N D A R Y

Fig.99 Primary/secondary diagram

W E S T H I L L C O M

Fig.100-105 Plan diagrams

DESIGN DEVELOPMENT

Entrance Development

Creating an obvious entry point off from Westfield Lane proved challenging as the welcoming threshold had to remain respectful to the opposing buildings and gardens. I was determined to keep the entrance in this position as I felt there should be a journey to the main foyer from either the car park or the top of Westfield Lane. The initial idea were the deep window seats to encourage an interactive facade from both inside and out.

Then materiality was tested on the exterior, stone and timber initially then transitioning to red brick.

Fig.106 Sketch of window seats

E N T R A N C E T H R E S H O L D 3 D V I E W U P W E S T F I E L D L A N E Fig.107 Sketch of entrance threshold

I N S P I R E D B Y : T H E L A R I C K C E N T R E , C O L L E C T I V E A R C H I T E C T U R E

Fig.108 Render of potential entrance

The entrance still needed to be more interactive, obvious and dramatic. I decided to bring the structure out from the building and creating a colonnade. The addition of a fully glazed entry point brings light into the foyer creating a brighter and more airy space. A covered seating area supports conversations between visitors and allows for a waiting area for parents picking up children from after school activities. Giving space back to the public.

Fig.109 Sketch of developed entrance

Fig.110 Entrance render with stained glass experiment

DESIGN DEVELOPMENT

Further Development

Continuing to develop in section, the space was starting to feel warmer and more realistic. Flat and pitched roofs were being experimented with the addition of skylights. More detail into the construction was being looked at to move forward with a much more finalised design.

Though dramatic in height, the double height church and hall spaces were sitting at a similar height to the tall, existing tenements. Creating a proposal which slotted into the existing site comfortably and unobtrusively.

Fig.111 Sectional diagram of key spaces

A pitched roof was trialled over the hall space, again to remain respectful to existing buildings. Looking back now, this overcomplicated the overall form which we go on to realise.

1 : 2 0 0 C R O S S S E C T I O N

DESIGN DEVELOPMENT

Form Development

The geometry of the main church body was taken mainly from the Lee Boyd precedent in Monifieth. The south facing triangular skylight sitting at the highest point and the 3 roof planes tapering down to the lowest single storey hight level to create a lantern effect, similar to that of origami which would sit upon the timber frame beneath. The remainder of the building’s form was trialled with both flat and pitched roof’s then a combination of the two. My final proposed form is a fully flat roof surrounding the lantern shaped church to elevate it, bringing it higher to heaven and making it stand out to by-passers, drawing them in.

K E Y S P A C E S M A S S I N G M O D E L 1 : 2 0 0 R O O F P L A N

P R I M A R Y / S E C O N D A R Y A L S O I N S P W E S T H I L L C O M M U N I T Y C H U

3 D P R O P O S E D E X T E R N A L V I E W F R O N T ( E A S T ) E L E V A T I O N )

Figs.114-116 Various building form experiments

Fig.117 Form design moves

DESIGN DEVELOPMENT

Roof Form

When focusing toward the final geometric, lantern shaped church body, I trialled various forms by sketching, physical modelling then moving onto digital models.

Starting with the simple cube shape then cutting the main triangular skylight to the south was my first move.

I then tapered the roof down to the opposite corner from the skylight, as to create a funnel like volume when entering the space.

The wall to the east had to be angled slightly to mirror the main entranceway to the building. This meant that each roof plane was different which will also effect the internal trusses.

I believe my final resolved church form was the most simplified version possible. The heights are respective to the surrounding tenements allowing the space to be high and bright with the contrast in scale being felt upon entering the space.

Fig.118 Church form key stages

DESIGN DEVELOPMENT

Two Dimensional Net

Revisiting the origami artist, Robert J. Lang, I explored the possibilities of roof form via the process of creating a two dimensional net, that when cut-out and folded, created the geometric form of my church sanctuary. I found this experiment useful in developing the scale and proportions of each face of the form.

Fig.119 Origami inspired church net

An idea in which could be used, would be to create activity sheets for children in the cafe, where they could cut, stick and colour in their very own lantern shaped church.

DESIGN DEVELOPMENT

Final Placement

In my final arrangement of spaces the ground floor consists of 2 main spaces supported by 3 cores. The church is supported by the prayer rooms and store with a permanent stage facing towards the light.

The foyer breaks up the church and community elements with the main staircase leading visitors up to the cafe. There is also a secondary entrance into the foyer from the tenement street to the west.

The community hall is positioned nearest the car park and has plenty of storage alongside spacious changing facilities.

The core running along the west of the facade is home to offices, a secondary fire stair and the toilets. There is an additional entrance primarily for staff or those accessing the hall for larger sporting events.

The first floor is home to the versatile classrooms, cafe, and more toilets which are gender neutral.

Fig.120 More finalised arrangement

DESIGN DEVELOPMENT

Architectural Language

Within the space, there is a continuous language of warmth, light and inclusiveness.

A datum running throughout both interior and exterior, the ground floor and first floor heights differentiate in both material and purpose. Double height spaces are brighter and lighter above the timber ring beam, creating a contrast, and light, airy space above. Use of timber structure at this height will aid acoustics, reducing echo and absorbing sound.

Plywood cladding remaining uniformed throughout the ground floor level maintains the warm, welcoming environment.

At first floor level the space is bright and open, lots of glazing allows for the space to feel bigger and more connected with it’s surroundings.

DESIGN DEVELOPMENT

Materiality

EXTERIOR Trying to keep the pallet of materials to a minimum while keeping the facade dynamic and enticing has resulted in the choice of 3 key materials:

Zinc - choice of standing seam zinc roof was because of its long term durability as well as the eco-friendly nature of the product which is fully recyclable. This material lightens over time and is an attractive use of metal cladding.

Brick - use of red brick mirrors that of the large span terracotta brick wall further up Westfield Lane, part of the existing Kwik Fit garage. This standardised material creates a thick, stereotomic ground floor level which blends into the surrounding context effortlessly.

Glazing - as well as regular double glazed windows, I trialled stained glass windows into the facade of my community church. I experimented by creating a watercolour painting, mimicking that of abstracted stained glass. I liked the results however when paired as a whole facade composition, became cluttered. I chose to leave the stained glass behind to ensure a more simplistic and clear elevation could be seen.

Fig.123 Entrance facade materiality diagram

Fig.122 Watercolour painting of window design

INTERIOR The intention of creating a contrast from the exterior materials to the internal materials meant that a different choice had to be made.

Plywood - by cladding the interior walls in the smooth, light, textured wood it results in a warm and welcoming interior which can be enjoyed by all generations.

Glulam - using mass timber in the form of glue laminated beams as a structural support system is a sustainable method, much better for the environment than steel. This type of construction is exposed and compliments the plywood cladding.

Fig.124 Interior render of foyer

DESIGN DEVELOPMENT

Elevation Study

As mentioned in the entrance and materiality pages, the facade has come a long way. These diagrams show the development which led us to our final facade.

Fig.125 Initial facade study

Figs.126-129 Facade development

Figs.130-131 Further facade development (East, West)

Figs.132-133 Entrance elevation diagrams

DESIGN DEVELOPMENT

Community Hall

SPATIAL QUALITIES A large span space with the intention of catering to various multi generational activities such as dancing, martial arts, zumba badminton, guirlguiding, scouts, and so on. This meant that a bright, well ventilated space was required to suit some high intensity activities. By using large span glazing between the glulam columns, the first floor level is essentially fully glazed on the longest sides allowing for plenty of light and fresh air. Benches have been built into the longest walls to allow for parents/ grandparents/guardians to watch their children if the class was putting on a show, for example. By cladding the lower level in plywood, a sturdy and uninterrupted wall finish is created meaning that there’s low risk of damage to the interior by any ball sports.

Fig.134 Hall render

DESIGN DEVELOPMENT

Church Sanctuary

SPATIAL QUALITIES When entering the sanctuary space the sense of scale changes drastically from the previous, low lying corridor on the journey to the space and then the high, dramatic abnormally formed roof takes the viewers breath away. Use of the diagonally facing truss supports the roof planes in the direction of the skylight. The stage has been positioned directly below the sky light as a means of elevating the spokesperson - bringing them higher to god and giving the sense of radiating light. The addition of a ring beam (shown on model image) creates a contrast between the levels, again representing the heavens above.

Fig.135 1:50 Church model

Fig.136 Technical church section

Fig.137 Illustrated sketch church section

DESIGN DEVELOPMENT

Resolved Design

Through thorough development, we arrive at our final community church proposal. A flat roofed body surrounds the lantern shaped heart to the building. The entrance is met after a colonnade, wrapping round 2 sides of the building. Within, the key spaces are at either side of the building. The centralised foyer is located with a mezzanine level cafe above. Entry points at east, south and west sides of the community church allow for fluid circulation, with the key existing routes remaining accessible.

Fig.138 Illustrated sketch church section

DESIGN DEVELOPMENT

Resolved Design Diagrams

Figs.139-141 Elevation diagrams

Our final resolved diagrams are demonstrated above. The internal structure of the timber frame has been demonstrated in elevation through the linear and repetitive facade of columns and glazing. The clear datum throughout separates the materiality of brick and zinc. Large spans of glazing signify the entry point.

Figs.142-144 Section diagrams

Moving on to the internal diagrams (figs. 142-144). The two key spaces are double height and are positioned at opposite ends of the building. The move of using a datum has also been used internally, separating the different floors and materials with use of a ring beam in double height spaces. The use of plywood ground floor level creates a warm, welcoming atmosphere whilst the white plasterboard first floor makes the space seem higher and brighter.