Mike Gyi > Architecture Portfolio

mike gyi

architecture portfolio

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001 Afterimage Gateshead, UK Design January to May 2012 This project began with a disassembly of a bicycle after being inspired by video documentation of the Gateshead Car Park during demolition. Experiential essence was taken from both the 'Cyclotel' brief and the car park which led to a new urban park being created in Gateshead with a bicycle factory at its fulcrum, interspersed with surrounding follies.

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disassembling an ICON The bicycle has arguably fast become an icon of modern times and is instantly recognisable upon first glance. In the same way, the “Get Carter” car park also became an icon of the Gateshead skyline and was instantly recognisable to all in the Tyneside area.

The demolition process of the car park interested me a great deal. The way in which an iconic structure was carefully dismantled into unrecognisable form and documented by “Thompsons of Prudhoe Demoltion” in a time-lapse inspired me into an investigation of parts.

The Gateshead Car Park became more than just a famous facade as the demolition process demonstrated that there was much more substance

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to the car park than first envisaged. The nature of the Cyclotel brief proposed a comparison with the slightly smaller icon...the bicycle.

Bicycle parts are totally unique and are manufactured for one purpose. As separate forms they are useless, but as a system of parts they work together.

A derelict and abandoned bicycle found chained to the wall of a terrace house in Jesmond, Newcastle-upon-Tyne, provided many comparisons with the car park. The “Giant Boulder FS” became the starting point for my afterimage of the car park and a demolition process ensued and the individual parts meticulously photographed. video of bicycle disassembly

transition

observe

contemplate

meet

rest

stimulate

retreat

experience/action

Distilling the different bicycle components down to a few select pieces was key to the logic of the architectural process.

words from the action/experience category were assigned to the different programmes.

This process whittled down the 270 bike parts to a seThe cyclotel brief offered a lect few which responded starting point and the spa- directly to each programme tial essence of each of these outlined in the initial brief spaces were outlined and the and also for a bicycle factory.

For example: membrane

stitching

motion

viewing

reflection

pause

input

touch

bicycle + car park

café

contemplate retreat rest

rest + stimulate + meet

rest

stimulate

meet

stimulate meet

rest stimulate meet

observe

transition

contemplate stimulate meet

components

categorizing from instertitial category to action/experience category Precedent - John Hejduk’s “Victims”

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A return to the bike parts was made after the combinations of different bike part forms were reached. The components which were instilled in the previous symbols were then multiplied and scaled according to the size of the programmes in Cyclotel brief.

Collated into piles according to the previous symbols, an act of playfulness was undertaken to attempt to create intriguing forms on the site map.

The pieces were laser cut from 9mm MDF at 1:100 scale to experiment an arrangement on a 1:100 site map measuring 4m x 2m.

The final arrangement resulted in seven different “symbols� held in a relationship to the central factory component.

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The idea of a production line was implemented with the factory being the main visible component on site.

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1:100 Arrangement Model

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1:500 Abstract Site Map Arrangement

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Factory Elevation Factory Elevation

This proposal for the vacant site in Gateshead town centre is a place for the process This proposal for the vacant site in Gateshead town centre is a place for the process of making to be celebrated. An urban park is proposed with a bicycle factory as of making to be celebrated. An urban park is proposed with a bicycle factory as the main component of the site. the main component of the site.

A journey throughout the site is to be taken in which the process of making can be A journey throughout the site is to be taken in which the process of making can be observed by walking on the suspended gantries in-between the factory floor and the observed by walking on the suspended gantries in-between the factory floor and the roof canopy of the factory. The park is a place in which people can reconnect with roof canopy of the factory. The park is a place in which people can reconnect with the basic skill of making and as a result understand the system of parts and prothe basic skill of making and as a result understand the system of parts and processes behind everyday objects such as a bicycle. cesses behind everyday objects such as a bicycle.

The journey throughout the site is interspersed with follies in which common-place The journey throughout the site is interspersed with follies in which common-place events such as drinking tea takes place. events such as drinking tea takes place.

There are twelve cabins situated on site in which people can stay and learn the proThere are twelve cabins situated on site in which people can stay and learn the process of assembling a bike in the workshop. Their purpose on site is complete when cess of assembling a bike in the workshop. Their purpose on site is complete when a bicycle is fully disassembled to all its constituent parts thus an appreciation of a bicycle is fully disassembled to all its constituent parts thus an appreciation of parts is observed. parts is observed.

Design Studio Design Studio

Painting Painting

Welding, Bending, Cutting of Frame Welding, Bending, Cutting of Frame

Warehouse Warehouse

Assembly Assembly

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The Design Studio The Design Studio The design studio is the start of the production line process. Glazed facades forstudio observation fromofthe to the activity within. Light wells in the roof The allow design is the start thepark production line process.

Glazed facades soft sunlightfrom down thetostudio illuminating the designers sketching. allowpass for observation theinto park the activity within. Light wells in the roof pass soft sunlight down into the studio illuminating the designers sketching.

The Bicycle Factory The Bicycle Factory The Factory is at the centre of the urban park. The surrounding follies are relationship can observe The arranged Factory isinat the centretoofthe thecentrepiece. urban park.The Thepublic surrounding folliesthe aremaking process via an upper which passes overcan theobserve sunken the factory arranged in relationship to thegantry centrepiece.

The public mak-floor.

The roof of the factory is a canopy in tension covering the machinery below. ing process via an upper gantry which passes over the sunken factory floor.

The roof of the factory is a canopy in tension covering the machinery below.

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Bicycle Display Cabinet A series of timber clad display cabinets address the High Street running along the eastern edge of the site signalling the end of the factory assembly process. The completed bicycles are celebrated as artefacts, stopped in motion, detached from the urban park by a thick pane of glass.

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Observatory Tower

Entrance Folly

The tower is a place to contemplate and rest. A chair in the viewing chamber is orientated to a view northwards over the River Tyne, ghosting the height of the late Gateshead icon. The lightweight steel and glass chamber is reached via a stair core in-between the vertical concrete elements terminating in a moment of pause.

Four steel skeletal drums each encircle staircases which all ascend toward a viewing device two storeys high. The folly’s four central posts distribute the order for the field of signal posts which cover the site, orientating the follies around them.

Each viewing device observes a different direction.

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1:200

Elevation

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Elevation

1:200 Elevation

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Sauna The sauna is a place to rest and reflect. Heat energy from the factory is transferred underground and utilized by the sauna. Two chimney elements provide an outlet for the steam produced in the sauna.

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1:200

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Elevation

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The workshop is a metal cage tower with its roof addressing the factory. The metal structure breaks up the natural light entering the workshop teaching spaces. The teaching difficulty increases up the building with the most advanced being on level 5.

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Signal Posts The signal posts act as navigational devices around the urban park. The posts stand eight metres high at the lowest point of the park and gradually descend in height as the user orientates themselves towards the entrance folly. Not only do they orientate the user around the site, but they also serve as the framework in which the follies situated. The posts derive from the stitching category and illuminate at night, dispersing light through its horizontal slits in the metal that encases it.

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Incremental Workshop

Elevation

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Elevations

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Tea Pavilion The pavilion is a place to rest and meet. It is a seasonal structure which is only open during the summer months. The timber structure is covered by a red plastic membrane creating a space to rest within. A black material on the roof of the structure harnesses the sun’s energy and heats water for warm drinks.

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1:200

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Elevations

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Site Axonometric

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Wall Construction 80 x 80mm Steel Mesh 100 x 100mm Steel RHS Beams 4mm Welded shot-glassed aluminium steel 100mm Aluminium Window Frame 18mm Double Glazed Low E Glass 3mm Damp Proof Membrane 100mm x 200mm Steel RHS Beams 3813x2650mm HS Portal Steel Frame 100mm Insulation between steel Frame 30mm Insulation 30mm Acoustic Insulation 3mm Vapour Control Layer 110mm x 50mm Wooden battens 4mm Plywood Lining Floor Construction 215mm x 200mm suspended concrete beams 294mm x 130 mm steel shoes 4mm Plywood Lining 3mm Damp Proof Course 200mm Insulation between frame 30mm Insulation 40mm service shaft 30mm Acoustic Insulation 3mm Vapour Control Layer 22.5mm x 150mm plywood tongue and groove flooring Roof Construction 4mm Welded shot-glassed aluminium steel 70mm x90mm aluminium gutter 100mm Insulation between steel frame 100mm x100mm SHS Steel Beam 30mm Insulation 30mm Acoustic Insulation 50mm x 50mm Plywood Battens 4mm Plywood Lining Suspended Walkway Construction

1:20 Cabin Axonometric Detail

Cabin The cabins are place to rest and retreat. They are elevated off the floor of the park to reduce impact sound from the factory and also add privacy for the inhabitants.

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60mm x 60mm Steel SHS Columns 60mm x 60mm Steel SHS Supporting Frames 35mm x 35mm Steel SHS Handrails 14mm Steel Sideboards 240mm x 60mm x 25mm Steel Support Brackets + Bolts 1200mm x 240mm x 14mm Serrated Steel Steps 815mm x 14mm Serrated Steel Walkway PRODUCED BY AN xAUTODESK EDUCATIONAL 100mm 60mm Steel RHS Beam with 40mmPRODUCT allowance for services

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002 Middlesbrough Film Archive Middlesbrough, UK Design October to December 2011 This project provided an intense five-week project located in Middlesbrough in the North-East of England. The brief was set out to respond to the Northern Region Film and Television Archive's need for a new state of the art facility to bring together their historical film collection, currently located in two primary locations: an archive located in Newcastle and a facility situated within the University of Teesside Campus.

The NRFTA wanted to use architecture to engage the public by creating a place in which film could be celebrated. To do so, the organisation asked for the creation of an engaging and inspiring 'shop window' to increase publicity.

There were three potential sites to choose from, all located adjacent to the Middlesbrough Railway Station. Heavily sandwiched in between the railway and the a69 fly-over, all sites were located in so called 'no-man's land' between the historic centre of Middlesbrough and the desolate Middlehaven which is still yet to fully realise Will Alsop's masterplan proposal.

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Site Analysis

bird’s eye view >Site A is situated in a so-called “no-man’s land” inbetween the historic centre of Middlesbrough and ‘new’ Middlehaven. >The NRFTA want a new shop window for their organisation which will serve to entice and engage members of the public and raise its profile in the region. >Due to the site being long and thin, it has a huge visual potential to commuters in and out of Middlesbrough which is ideal for the organisation’s needs.

middlehaven site a

train station exchange square

historic centre of middlesbrough 16

A66 >Major Road into Middlesbrough >View from vehicles could be utilised

platform views >NRTFA Shop Window >Intriguing facade

exchange square site a

>Potential for Public Art >Heavily used when Aruba nightclub is open

>Exchange Place Facade >Oppurtunity to draw visitors

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site a

>Potential for “Beacon� to view from Middlehaven and Bridge Street East

back of site a

view from middlehaven

>Brief Research and Inspiration

process of film making >Pre-production >Production >Post-production

A place which intrigues and celebrates the process of film-making.

Using glass as a metaphorical lens throughout the building.

People outside looking into the space through openings.

“The Project proposes a new shop

window

for the NRFTA located in Middlesbrough”

“The Middlesbrough Archive seeks to provide an enganging front

train station “add-on”

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form by rhythm

door for the NRFTA”

>1:200 Model for Final Crit please note that design changes have been made since final crit

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>Approach from Platform

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>Second Floor 1:200 01 Gallery 2 + Viewing Platform for views over Middlehaven

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>Platform Level 1:200 01 Entrance Deck 02 Reception 03 Gallery 1 04 Low PrivacyStaff Office 05 Café Seating Area 06 Café Service Counter 07 Auditorium 08 Projection Room

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>Street Level 1:200 01 Plant Room 02 Digital Media Suite with Key Card Access 03 Kitchen 04 Entrance Lobby 05 Group Screening “Containers” with Individual Screening above 06 Archive situated in arches

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>Interior View of main axis runnning adjacent to the platform

>North Elevation at Night

> section a-a 27

3-dimensional isometric structural bay 1:50

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800x300 steel roof beam Pilkington triple glazing 305x165 universal steel beam Zinc roof flashing ACM cladding brackets 120x30 pine wood shading Wooden batton to support shading Spider to support wooden batton Mastic 200x100 rectangular hollow section beam Steel connector Zinc roof flashing Damp proof membrane 150x100 c-channel gutter 100x125 steel purlin 305x165 universal steel beam 12.5mm Gyproc wallboard with 125mm service void 150mm kingspan thermal insulation Fire-proof calcium silicate board 440x210x150 concrete blockwork 150mm kingspan thermal insulation Damp proof membrane

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Michael Elliott Gyi ARC3013: Architectural Technology

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Middlesbrough Film Archive 3-Dimensional Isometric Eave Detail 1:20

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Slimdek steel sheet 305x165 universal steel beam 300mm reinforced concrete slab Polished screed concrete flooring Gyproc ceiling board with 40mm service void 40x40 GL1 lining channel 100x125 steel purlin 305x305 universal steel column 12.5mm Gyproc wallboard with 125mm service void 440x210x150 concrete blockwork 150mm kingspan thermal insulation Damp proof membrane ACM cladding brackets 1160x900 ACM cladding panel 305x305 universal steel column

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Michael Elliott Gyi ARC3013: Architectural Technology Middlesbrough Film Archive 3-Dimensional Isometric Intermediate Floor Detail 1:20

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12.5mm Gyproc wallboard with 125mm service void 100x125 steel purlin 150mm kingspan thermal insulation 305x305 universal steel column 150x204 steel window lintel Head of pine window frame Pilkington triple glazing Pine window sill Damp proof membrane 1160x900 ACM cladding panel 440x210x150 concrete blockwork Outer sill of pine window frame Window jamb ACM cladding brackets

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Michael Elliott Gyi ARC3013: Architectural Technology Middlesbrough Film Archive 3-Dimensional Isometric Window Detail 1:20

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Concrete slab foundation Sand 150mm rigid thermal insulation Plastic sheathing 300mm reinforced concrete flooring slab with underfloor heating Polished screed concrete flooring 305x305 universal steel column 100x125 steel purlin 12.5mm Gyproc wallboard with 125mm service void 1160x900 ACM cladding panel Damp proof membrane 150mm kingspan thermal insulation 440x210x150 concrete blockwork 04 Damp proof course

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Michael Elliott Gyi ARC3013: Architectural Technology Middlesbrough Film Archive 3-Dimensional Isometric Ground Floor Detail 1:20

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003 007 BA Charette Paper Intervention Middlesbrough Film Archive one week UK Middlesbrough, Newcastle-upon-Tyne Design University ARC3001 September 2011 This design project was an opportunity to mix with lower years and create a paper intervention around campus. We had to design, make and install a temporary intervention, a small piece of architecture made entirely out of paper. It was an opportunity to explore, surprise, test , challenge and most of all make something beyond our normal confines.

A chance to produce a real piece of work, real size, real material and real impact on its location and on those experiencing it

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CHARETTE PROJECT BA STAGES 1/2/3

GROUP 11 STAGE 3 MICHAEL GYI MATTHEW HUDSPITH MICHAEL SMITH STAGE 2 ROB WILLS JAMIE MORTON EMILY WATERS STAGE 1 THEO COLES BECCA LEWIS DEIMA BEZITE NOOR JAN-MOHAMED

MONDAY 3RD OCTOBER // FRIDAY 7TH OCTOBER

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004 Principles + Theories Serpentine Pavilion: Hortus Conclusus Building Critique April 2012

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Serpentine Gallery Pavilion 2011: Hortus Conclusus Designed by Peter Zumthor 1 July16 October 42

Building Critique by Mike Gyi

Architect Atelier Peter Zumthor & Partners Location Kensington Gardens, London WC2 Completion date June 27, 2011

Plan

Situated in Kensington Gardens, the Serpentine Gallery’s eleventh summer pavilion by Swiss architect Peter Zumthor’s provides a place abstracted from the world of noise and traffic and the smells of inner-city London.

I believe architecture is about creating an intensely rich setting which evokes a sensory and spiritual experience. The building selected demonstrates these qualities to an exemplary degree.

Piet Ouldolf’s Planting Plan

The 4th April 2011 signalled excitement across the architectural community as the first images of Peter Zumthor’s Serpentine Pavilion proposal were revealed to the press. The pavilion programme, now entering its eleventh year of iteration, presented an ever difficult solution. The skill required to reinterpret the same brief year after year is surely a testament to the ten architects commissioned prior to the January invitation addressed to Atelier Zumthor and Partners.

Running for four summer months, the annual Serpentine Pavilion series sits adjacent to its namesake gallery in Kensington Gardens. The once bare lawn in front of the tea pavilion, turned modern art gallery is a gesture of the gallery’s effort to incorporate architecture into its portfolio.

Serpentine co-director Han Ulrich Obrist explains that “an aspect which is important is the public dimension, with the whole idea being that the architecture is for all, giving possibility for visitors to experience architecture one to one because it’s very difficult to show architecture in an exhibition with plans and sections as you want to listen to it, you want to immerse yourself in it.”

Eleven years ago Zaha Hadid’s inaugural pavilion acted as a catalyst for a number of subsequent architects who had not yet graced British soil. The celebration of architecture as an art form coupled with star names such as Gehry, Libeskind and Niemeyer has undoubtedly added to the success of the pavilions culminating in the series being listed high in the rankings for the most attended design exhibitions globally.

Zumthor’s self-confessed philosophy inherently lies in the essence of creating an emotional space rather than fashioning something astronomically beautiful. Zumthor’s beauty rests within the experience of the space. This grounded outlook is perhaps why the Swiss architect is not financially driven; rather he selects passionate projects which he believes are worthwhile.

Zumthor’s pavilion explores the sensory and spiritual aspects of the architectural experience. The architecture is just a frame and stage set for the centrepiece of the building: the Hortus Conclusus, a garden curated

by Piet Ouldolf full of wild flowers not akin to Kensington Gardens, but rather found at the edge of a wood.

The Hortus Conclusus not only lends its name to the pavilion, but embodies the conceptual drive behind the project, meaning “a contemplative room, a garden within a garden.” For Zumthor, gardens have transformed from a place to be enjoyed as a child into an important place of contemplation and relaxation. Gardens intrigue Zumthor as the

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long section

Cross section of Hortus Conclusus

relationship between the body and the natural environment is a bond which he explores in almost all of his designs.

Instead of being inside a space and looking out to the landscape, Zumthor wants to be part of a garden and have the roles reversed; with nature being the observer.

The solution was simple – the architecture was to be a frame, a large black box, which would encircle Piet Ouldolf’s trusted natural art piece – we would be the observed.

Two layers of walls protect the garden as misaligned entrances seek to disorientate before moving deeper into the plan. If not for the winding sand-topped tarmac path on the approach, the pavilion could have been mistaken for the construction hoardings which had encircled the building a month prior to the visit which contributed to a curious setting.

From an intriguing exterior an interstitial space is found through the first doorway. A high black corridor runs around the perimeter of the main space resembling a quiet, shaded monastic cloister which truly separates the bustle of the capital from the inner sanctum beyond. The intermediate space is pierced by sharp angles of sunlight from each of the five doorways, two of which lead onto the inner courtyard bathed in light, where the roof is replaced by the sky. This is where Piet Ouldolf’s “Hortus Conclusus” resides, thirty varieties of shrubs, flowers and grasses densely planted in a large rectangular garden covering 252sqm, with a pathway neatly placed around the edge

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banked in protruding wooden benches as an invitation to sit, relax and reflect.

Ouldolf’s rectangular garden seems to hold significance such that all the elements of the architectural black frame are being pulled in by some natural force. The walls encircle and the pitch of the roof slopes down towards the middle, again framing the green space whilst providing an overhang to shelter the pathway and seated area around the perimeter.

The overhanging roof provided a technical challenge to the engineers as the simple prefabricated pine structural frame geometry did indeed want to fall into the garden. Contractors at Stage One devised a solution of a 600x600mm timber plate which would reinforce the connection between the floor and the primary timber upright of the frame system. The plate both stabilises the building and forms the profile for the Prussian blue painted perimeter bench.

An 18mm-thick plywood skin is nailed onto the frame which forms the base for the hessian scrim and black ldenden finish of the pavilion. Project architect Anna Page explained that “Peter wanted something really black, with a depth and shadow to it, rather than the flat black that paint would achieve.

He also wanted a finish with a memory to it so that when people looked at it, it would be familiar in some way.”

The fine line between the public and private space in the pavilion is interesting. Inherently the Serpentine Pavilion takes the form of a public

Messian scrim with a coating of ldenden

space for which architecture is to be explored and appreciated at a one to one scale. However, Zumthor has created an unceasingly private space; an extension of the gallery which dials down the aura of the secret garden.

Nonetheless, this is not to say that the project is not successful, in terms of creating a detached beautiful space, Zumthor has crafted one with fine skill.

The success of the scheme derives fron Zumthor’s ideas about separation of space from the city within the city. He compares the problem of putrid dwellings in medieval times to the aggressive noise of city life today. The Hortus Conclusus carries this ideology out perfectly. The separation by the intermediate cloister and 5.3m high structure ensures that little sound penetrates into the inner garden. Obviously the acoustics would differ if placed in the middle of Piccadilly Circus, but the atmosphere created

by Ouldolf and Zumthor indicates the stark difference in the acoustics once stepping over the dimly-lit threshold.

Perhaps the pavilion may act as a prototype for this simple idea to be translated into dense urban architecture.

The project is a unique one and a very intense 6 month process for any architect to undertake as the brief is not so complex and can easily be overseen.

Zumthor’s pavilion is an intensely rich space which, for some, at first glance can seem guileless. Perfectly put by a visitor an unimpressed visitor stated to his friend “it’s not much is it?” and I agree, it is not, it is barely a building at all

but it is the simplicity which is key. The focus is on the centrepiece of the project, created for enjoyment, not to be beautiful, but to be understood. The beauty here lies within the mind, not the eye.

So how can the success of the pavilion be measured? It is hard to judge the project due to the “Serpentine factor”. Whatever the design, the pavilion is going to attract roughly the same footfall each year and the judgement of the public will decidedly rest on a comparison with the pavilions of yesteryear.

It would be hard to judge whether or not the pavilion would be as successful if not part of the exhibition as it is such a unique piece, unlikely to be commissioned elsewhere. It is a typological piece of architecture which can be lifted up and placed anywhere framing different plants, a different sky and a different climate.

I believe once you get past the constant comparisons with the past pavilions and the simplicity of the pavilion summed up greatly in the City of Westminster’s near rejection of the pavilion for its “not particularly stimulating” design, then Hortus Conclusus definitely grows ever stronger upon reflection.

Zumthor has undoubtedly transcended his philosophy into a sensory design which may have been misunderstood for those seeking the visual thrill of a Hadid or a Gehry, but the Hortus Conclusus is a truly ethereal place which simply re-establishes and reinstates man’s connection with nature. word count 1463

natural daylight 12pm

natural daylight 3pm

circulation to use

balance + symmetry

hierarchy

005 Living Memories in the Park Jesmond Dene, Newcastle-upon-Tyne, UK 2nd Year Design January to April 2011

This project was based in Jesmond Dene in Newcastle with the task of restoring a Grade II listed building as well as designing a new Nothern extension. The centre would be a haven to celebrate the historical, social and natural significance of the Dene and its contribution to the quality of life in the North East.

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"a multi-functional centre in Jesmond Dene to celebrate the historical, natural and social significance of the Dene and its contribution to the quality of life in Newcastle and the region."

"provide a journey between past memories and a beautiful present setting." "a booth is a small enclosure in which people can record their memories of the living and working in the North East Region."

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> 1950s/60s/70s “Post-it” Photos >Newcastle City Library > Nostalgic Memories sprouting from photos

> Nostalgia Trail > Evoke Memories

> Elevation of Extension prior to 1974 Fire > Replication of two Pitched Forms

> Jimmy Forsyth’s Photos > Snapshot of the North East in 1950’s

> Parti Drawing> Knitting Landscape, Old and New

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>First Floor

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01 Artist’s Studio 02 Underground Passage 03 Shop 04 Office Space + Reception 05 Disable W.C. 06 Function Room 07 Re-enactment Kitchen 08 Female Toilets 09 Garden Teaching Space 10 Herbal Garden

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>Ground Floor

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welsh slate zinc guttering TYVEK building sheet reflective metal flashing steel horizontal support double glazing existing stone outer leaf rubble

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6mm CORE-TEN sheet steel sections 6mm CORE-TEN sheet I-beam lintel

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existing inner leaf wooden skirting screed services

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Banqueting Hall floor detail

17 under-floor heating 18 19 20 21 22

CORE-TEN cladding sheets zinc flashing spider glass assembly 300mm x 300mm welded portal frame double glazing

23 24 25 26 27 28 29

welsh slate paving mesh grate pre-cast concrete drain steel kickplate plastic seal screed wooden flooring

28 27 29 23

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Banqueting Hall Section

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

17

24

25

26

Extension detail PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

52

53 PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Extension Section CORE-TEN steel walkway detail scale 1:5

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

12

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

22 21 20

9 10

PRODUCED BY AN AUTODESK EDUCATI

N AUTODESK EDUCATIONAL PRODUCT

11 18 19

9

8

Landscape Proposal Site Plan 1:200

5 6

4

> Legend 8 3

7

1 2

54

1.

2.

3.

4.

5.

6.

7.

8.

9.

New Stepped Path Towards St. Mary’s Chapel through Tunnel Herbal Gardens CORE-TEN Steel Stepped Exhibtion Walkway for primary acces into the building Information Boards Placed in reference to location to landmarks New Steps from Walkway down to Path Paving Area Offering Outdoor Area for Banqueting Hall when functions are on Outdoor Teaching Space underneath Walkway for Children to be taught about using Herbs with Cooking New Stone Walls Secondary Access Lift into the building mainly to be used by Disabled and “Living Memories” Office Workers