Page 1

M A X C A M E R O N T AY L O R D E S I G N

P O R T F O L I O 2 0 1 7


C O N T E N T S ARCHITECTURAL DESIGN KIELDER CABIN

Nov - Dec 2015

Kielder forest Northumberland

A MINE OF INFORMATION

5

Jan - Apr 2015

17

Oct - Dec 2014

49

Oct 2015

63

Sep 2015

68

Sep 2011 - June 2012

71

Newcastle Mineralogy Centre Newcastle - Upon - Tyne

CHAMBER Edinburgh

FREELANCE COMMISSIONS LONDON & MIDDLESEX RIFLE ASSOCIATION National Shooting Centre NRA Bisley

ULTRA PEAK FITNESS Branding Design

ILLUSTRATION Central Saint Martins College of Art & Design


K I E L D E R C A B I N KIELDER FOREST, NORTHUMBERLAND


Located on the edge of Kielder Water reservoir, within Kielder Forest, Northumberland, the cabin provides both a refuge and an undisturbed studio space for a local artist. The remote location allows the inhabitant to live simply in nature and isolation, free from the distractions of urban life. The design is intended to respond to the context that the cabin sits within, with a form that opens up to the landscape and provides striking views across the lake, while keeping a low profile to help the structure blend with its surroundings.

6

KIELDER CABIN


LOCATION MAP 1:500

KIELDER CABIN

7


8

KIELDER CABIN


KIELDER CABIN

9


CABIN PLAN 1:100

10

KIELDER CABIN


EAST 1:100

SOUTH 1:100

KIELDER CABIN

11


12

KIELDER CABIN


N - S SECTION 1:100 KIELDER CABIN

13


The Scots pine construction makes use of the available timber from the forest itself, and contrasts with the concrete floor, which provides a stable foundation to embed the cabin within the site. As there is no provision for running water or electricity on the site, the cabin is designed to allow for the efficient collection of rainwater due to its uniformly sloped roof, while the large south facing windows provide ample daylight for working. A centrally located wood burning stove provides warmth during the evenings and in colder months. The unbounded terrace that cantilevers out from the cabin emphasises the feelings of unrestriction and of being within the landscape that the cabin is intended to evoke.

14

KIELDER CABIN


KIELDER CABIN

15


A M I N E O F I N F O R M AT I O N CASTLE GARTH, NEWCASTLE - UPON - TYNE


MINERAL SPECIMENS FROM THE NORTH OF ENGLAND

C O L L E C T I O N What is a collection? This was the primary question posed in order to drive the graduation project. The collection of objects I chose to work with is minerals: the vastly varied crystalline structures that help to shape much of what we know of the world around us. Minerals can be found in all parts of modern life, from the salt in our food to the intricate workings of a computer processor, we rely on minerals for almost everything. However, while being an invaluable resource, these inanimate objects are often overlooked. Throughout history, Newcastle has had a rich mining heritage, with the nation historically being dependent on the North East’s supply of coal for hundreds of years.

18

A MINE OF INFORMATION

This project proposes a new Mineralogy Centre for Newcastle: a science hub dedicated to studying these important objects at the micro scale, with a view to enabling us to better understand the world around us at the macro scale. The building will be an idea hub where people can come and test and share ideas, and where the public are invited to see for themselves new innovations in mineral science.

The North Pennine Orefield to the southwest of the city was the source of a variety of mineral specimens, including fluorite, galena and sphalerite. Many of these specimens are held by the Newcastle University Mineral Collection, along with 9,000 others, some of which are considered the best examples of their kind in the world. The proposed Newcastle Mineralogy Centre would create a new home for the University’s Mineral Collection, and allow them to be used to further research into topographic mineralogy.


LIROCONITE

A MINE OF INFORMATION

19


KIELDER OBSERVATORY, KIELDER FOREST

NEWCASTLE MINERALOGY CENTRE NEWCASTLE - UPON - TYNE

NORTH PENNINE OREFIELD

20

A MINE OF INFORMATION


NEWCASTLE - UPON - TYNE

GREAT NORTH MUSEUM

NEWCASTLE UNIVERSITY SCIENCE CENTRE

DISCOVERY MUSEUM NEWCASTLE MINERALOGY CENTRE

CENTRE FOR LIFE

1: 27000

A MINE OF INFORMATION

21


BLACK GATE

MOOT HALL CASTLE KEEP

BUILDING SITE

INCUBATOR SITE

HIGH LEVEL BRIDGE

1:1750

I N C U B AT O R The project began with the design of a small ‘incubator’: an architectural intervention located somewhere in the city to test the conceptual approaches proposed for the scheme.

22

A MINE OF INFORMATION

1:750


The location I chose for my incubator was on the banks of the River Tyne, just south of the site for the main building. A set of medieval stairs leads down to a platform among the arches of the High Level Bridge that looks out towards the river. This site felt especially appropriate, being somewhere hidden in the city that has to be discovered, much like the minerals themselves that must be uncovered from the ground.

A MINE OF INFORMATION

23


The incubator design continues the current route through the site, but forces the visitor underground, first moving into a half-level intermediate space before descending further into a narrow corridor that gives a feeling of enclosure (or vice versa depending on the direction of approach).

24

A MINE OF INFORMATION

INCUBATOR CONCEPT MODEL


I took inspiration from mine and cave structures, and the differences in scale and volume created by the various shafts and caverns within them, as well as the compression of space created by the often tight, narrow subterranean passages.

A MINE OF INFORMATION

25


SECTION A - A 1:250

B A C

The selection of minerals are displayed in a series of alcoves set into the walls, with a lowered ceiling height to give the viewer a feeling of being within the ground that the objects they are looking at were found. INCUBATOR PLAN

26

A MINE OF INFORMATION

C

B

A


SECTION B - B

SECTION C - C

A MINE OF INFORMATION

1:125

27


C O N C E P T This model was made as a direct response to the incubator design as a distilled architectural idea that would inform the the design of the building. It simply and succinctly captures the core concept of an architecture that suggests the inhabitant is within a solid, impenetrable mass with contrasting volumes of space, and light being delivered from openings above.

28

A MINE OF INFORMATION

JUXTAPOSING CEILING HEIGHTS AND GIVING THE FEELING OF BEING DEEP WITHIN THE GROUND


A MINE OF INFORMATION

29


S C H E M E The site for the centre is in an area of Newcastle rich in history, where the medieval Castle Keep and Black Gate meets the 19th Century Moot Hall and High Level Bridge. This area makes an ideal location for a building that references Newcastle’s mining heritage and collects knowledge about the makeup of the geology of the North East area.

30

A MINE OF INFORMATION


The building responds to the tectonic of the surrounding historical area, taking its cues from the adjacent Castle Keep, Moot Hall and High Level Bridge bastions, continuing the theme of a solid, durable architecture.

The roofscape in particular directly references the turrets and battlements of the Castle Keep opposite the site.

A MINE OF INFORMATION

31


GATESHEAD

32

A MINE OF INFORMATION

RIVER TYNE


0

5

10

20

50

1:650

QUAYSIDE

CASTLE KEEP

A MINE OF INFORMATION

33


34

A MINE OF INFORMATION


LIGHT FILTERING DOWN THROUGH FISSURES IN BUILDING

STRUCTURAL STRATEGY SKETCH

A MINE OF INFORMATION

35


36

A MINE OF INFORMATION

EXTRUDE SITE FOOTPRINT

SHAPE CUBE TO AVOID OBSTRUCTING DAYLIGHT TO NEIGHBOURING BUILDING

CARVE OUT INTERNAL SPACES FROM SOLID

DRIVE LIGHT SHAFTS THROUGH BUILDING AND FRACTURE ROOFSCAPE


CHARES MAP

Throughout Newcastle, there still exist a number of the narrow medieval passageways that connected the Quayside area to the city centre. This series of ‘chares’ provides a much different experience of moving through the city to the usually wide streets and roads, and allows a glimpse into the now lost historical urban network that once made up the city. I was interested in the way that these chares ran around the proposed site for the project and wanted to find a way in which I could bring the phenomenological experience of moving through them into my architecture and introduce a sense of an ‘interior urbanism’.

IMMEDIATE CONTEXT PLAN 1:600 A MINE OF INFORMATION

37


INFORMAL LECTURE SPACE

38

A MINE OF INFORMATION

The main staircase leading up from the ground floor and entrance area can provide impromptu seating for informal talks by anyone wishing to voice their theories on natural science, while a dedicated lecture theatre on the first floor allows for more formal lectures and presentations by visiting scholars and academics.


G RESEARCH 1:250 LABS

SHOP

RESEARCH

RECEPTION

A MINE OF INFORMATION

39


Light shafts running down from the roof allow visitors to move around the building from one point of light to another, creating a path directed by areas of illumination. A central shaft that runs the height of the building delivers light to all floors, as well as providing ventilation and allowing views through and across the building.

40

A MINE OF INFORMATION


1 EXHIBITION 1:250 EXHIBITION

LECTURE

ADMIN

A MINE OF INFORMATION

41


OBSERVATORY

READING ROOM

CAFE

LECTURE THEATRE

EXHIBITION SPACES

LABS & RESEARCH SPACE

ARCHIVE

PUBLIC PRIVATE TRANSLATING A CAVE NETWORK TO A BUILDING

42

A MINE OF INFORMATION


2 CAFE 1:250

CAFE

OFFICE

A MINE OF INFORMATION

43


44

A MINE OF INFORMATION


SECTION A - A 1:150 A MINE OF INFORMATION

45


1:50

46

A MINE OF INFORMATION


A MINE OF INFORMATION

47


C H A M B E R MARKET STREET, EDINBURGH


EDINBURGH

HOLYROOD HOUSE

WAVERELY STATION

EDINBURGH CASTLE

1:14000

50

CHAMBER


FLOWS THROUGH SITE 1:700

The site is located on Market Street in central Edinburgh, between the Royal Mile and Princes Street, immediately opposite Edinburgh Waverley Station and adjacent to the City Arts Centre.

Access to the site is available from both the north and south sides, enabling the building to provide a route from Market Street to Cockburn Street and become part of the wider urban fabric, acting like an extension of public space.

CHAMBER

51


PRINCES STREET

52

CHAMBER

BALMORAL HOTEL

EDINBURGH WAVERLEY STATION


0

5

10

20

50

1:550 MARKET STREET

COCKBURN STREET CHAMBER

53


CIRCULATION

ACCOMMODATION

PUSH PERFORMANCE HALL TO END OF SITE

54

CHAMBER

WRAP BUILDING ‘FABRIC’ AROUND HALL

LOCATE CIRCULATION & ACCOMMODATION IN SEPERATE ‘TAILS’


G

1:250

PLANT

M

F CLOAKS

CHAMBER

55


The ampitheatre-style seating that loops around the ground floor also acts as a grand staircase leading up to the main performance hall. This space can be used by local musicians for busking and informal concerts, creating a lively and versatile space.

56

CHAMBER


1

NOT SHOWING HALL

1:250

REHEARSAL

BAR

CHAMBER

57


58

CHAMBER


1

1:250

REHEARSAL

BAR

CHAMBER

59


ROOF DETAIL

WALL DETAIL CAST IN-SITU CONCRETE

TIMBER ACOUSTIC ATTENUATORS TIMBER RIB SHELL TIMBER CLADDING

1:25

60

CHAMBER


CONSTRUCTION SECTION 1:125

CHAMBER

61


F R E E L A N C E COMISSIONS


L O N D O N & M I D D L E S E X R I F L E A S S O C I AT I O N The London & Middlesex Rifle Association (LMRA) is a target rifle shooting club within the National Shooting Centre, Bisley, Surrey. It makes up one of a number of clubs within the NRA Bisley camp, where international target shooting competitions are held every year. I was asked by the club committee to draw up an initial design proposal for the reinstatement of a veranda around the front of the clubhouse that was demolished in a 1990s renovation. The proposal suggests a design that references the original arches of the 18th Century structure, providing a simple solution that does not detract from the intricacy of the original facade.

64

LMRA


LMRA

65


WEST 1:150

66

LMRA


SOUTH 1:150

LMRA

67


U LT R A

P E A K

F I T N E S S Logo comission for a new, London based personal training business, specialising in training for ultra-marathons. A clean, contemporary design implies a professional, competent service, directed towards those looking to take their personal fitness development seriously. The simple, uncluttered lines of the logo enables it to be easily adapted to both web and print uses, across a range of scales and with varying backgrounds.

68


69


I L L U S T R AT I O N CENTRAL SAINT MARTINS COLLEGE OF ART & DESIGN GRAPHIC & COMMUNICATION DESIGN ILLUSTRATION PATHWAY


U T O P I A , D Y S T O P I A A series of woodcut print illustrations exploring the idea of ‘tropes’ within the sci-fi genre, using visual cues and iconic imagery that communicates a recognisable theme to the viewer. Completed as part of a self-directed, seven week ‘Final Major Project’

72


F A N T A S Y

Z O O

Sketch layout for an illustration with the aim of representing animals in a stylised but easily identifiable way that conveys a sense of personality. I chose to imagine a medieval feudal system, portraying each animal according to their societal roles, from farmers to scholars, soldiers, nobles and royalty.

73


T H E M A N W H O O W N E D T H E S K Y Extracted pages from a ‘zine’ made to illustrate a speech given by Lincoln J. Beachey, pioneering American aviator and barnstormer, after he performed his first aerial loop. He is claimed to be “the most famous man you’ve never heard of.”

74


I N T E R A C T The project called for an interactive artwork based on a line of poetry by Anne Stevenson: “Blackbirds are the cellos of the deep farms.� My idea was to produce a crowdsourced, collaborative music piece by asking passerbys to place stickers of musical notes on a stave.

75


S Y N O P S I S Backdrop illustration for the opening scene of an animation set on an alien planet, inspired by the work of French illustrator Jean Giraud.

76


M O N T E F I O R E Layered woodcut print made from three woodblocks while completing a summer woodcut illustration course in Montefiore Conca, Italy. The image represents the 14th Century castle that sits atop the town and on the request of the mayor I supplied a print to be displayed in the local town hall.

77


MAX CAMERON TAYLOR ISSUU.COM/MAX.CAMERONTAYLOR

Max Cameron Taylor Design Portfolio 2017  
Max Cameron Taylor Design Portfolio 2017  
Advertisement