Z12P2

oliverkearney

MArch Work 6th Year

MArch Work 5th Year

Practice Work

Thesis Project September 2019 June 2020 Newcastle University

Masterplanning and technical projects September 2018 June 2019 Newcastle University

Acanthus WSM Architects, Leeds September 2017 August 2018

Portfolio 2020 Architectural and design work by Oliver Kearney RIBA Part II

Application for Part II Architectural Assistant Position okearney2@gmail.com 07434505594

OLIVER KEARNEY PORTFOLIO 2020 Edition

CONTENTS

OLIVER KEARNEY PORTFOLIO 2020 Edition

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Myth Goes To Market MArch University Thesis

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Community In The Void

MArch Masterplanning Project

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Intoxicated // Rehabilitated MArch Technical Project

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Acanthus WSM

Part 1 Placement Work

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Fabric Formwork Concrete Thinking Through Making

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Myth Goes To Market Architects’ Journal Student Prize Nominee

Castle Market, Sheffield was designed by Andrew Derbyshire, for Sheffield City Council and opened in 1959.

Both those local to Sheffield (such as the patrons themselves) and academics including Owen Hatherley acknowledge the working-class nature of the market, which was shuttered by Sheffield City Council in 2013 and subsequently demolished in 2015, despite numerous listing appeals and lobbying by the likes of the 20th Century Society and local residents.

Through my dissertation I asserted that the closure of Castle Market was a manoeuvre by Sheffield City Council to begin the gentrification, and social cleansing, of the Castlegate district of the city. An area now synonymous with drug dealing and anti-social behavior, under the guise of the aspiration to expose and construct Sheffield’s long-lost castle, from which the district gets its name.

The case of Castle Market, presents a clear hierarchy, imposed by the council, regarding which heritage, and mythology, they choose to privilege and which they choose to obscure from view and attempt to erase. The decision to demolish Castle Market in favour of exposing the forgotten castle also prompts the question, who is Sheffield for? The tourists who would supposedly travel from far and wide to view it, or those local to the city and call it home.

Although hierarchies of heritage are prominent in the market, for decades the city’s industrial, and working-class, heritage has been disregarded and often actively whitewashed.

The city is still awash with derelict industry. Drop a pin on Google maps and nine times out of ten, ghosts of the city’s former heavy industries will be within view. Sites of protest and violence (such as Orgeave) are re-branded to attempt to relinquish it from the city’s collective memory and absolve conscience.

Although letting buildings decay and eventually demolish them is criminal in terms of environmental sustainability, its effects on the city’s social sustainability are seldom considered. To the council these are often contaminated, brownfield sites are branded as ‘Stuck sites’. The land on which they sit is commodified, and they are often sold to baying student accommodation companies eager to inflict Sheffield, and other city’s, with their mundane buildings, devoid of context and providing architectures of no relevance or purpose to those local to the city.

To those who once lived, worked and gathered in these forgotten places, they are resemblant of their mythologies and a vehicle for their continuation.

These stories we attach to the places we inhabit, lose prominence when their vehicles (architecture) are demolished. The mythology is then all but lost.

So why must it be this way?

If we as architects are to truly push a sustainable agenda, we must not immediately begin to manufacture new building materials, even if they are sustainable, when such vast amounts of usable components lie forgotten, awaiting the wrecking ball without a second thought for what they may embody.

This brand of sustainability is particularly appropriate for Sheffield.

Castle Market may have been demolished in 2015, but for the purposes of this thesis, I am reversing this catastrophe and hypothesising its adaptive re-use, therefore conserving both the embodied energy lost through demolition and preserving the mythologies of those who inhabited it.

The mythologies people construct around the places they inhabit are crucial to both perceptions of both architecture and its social sustainability. Often when a building is demolished, those with the most prominent mythologies regarding the building are not consulted or even considered.

They do not possess agency over the continuation of these myths and have no access to a the public sphere in which decisions are made to attempt to save them. Instead they are isolated from this discourse, but for petitioning the result of such debate, or to sit and observe the results of it, however much it may affect them.

On this basis, alongside the squandering of embodied energy in Sheffield, embodied meanings of structures, architectural flourishes and existing built components are being routinely lost. Unfathomably, this loss is seldom considered.

Alongside preserving the existing Castle Market, I will create a typology to preserve the mythologies of Sheffield’s working classes in relation to structures across the city and allow them to access the public sphere in which their fate is decided. Agency shall be returned to the working classes over the continuation of their own mythologies. Simultaneously, a culture of re-use shall be encouraged, instead of emboldening the sterile, historically unaware brand of architecture the city continues to aspire to, that does not serve its people.

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OLIVER KEARNEY PORTFOLIO 2020 Edition MArch 6TH YEAR PROJECTS

Castle Market - vehicle for the mythology of Sheffield’s working-classes

Why The Market?

Castle Market provides one of the most clear examples of hierarchies in the myth we privilege.

From analysing over 80 interview transcripts or patrons and traders it is evident the market served as a vehicle for working-class myth in Sheffield.

The myths of Sheffield’s working classes was decided to be of less importance then Sheffield’s medieval heritage.

In 2013 Castle Market was shuttered and later demolished in 2015, to allow for the foundations of Sheffield Castle to be excavated and exposed as a tourist attraction. A clear imposition of hierarchy in mythology and an act of symbolic violence, as Pierre Bourdieu coined.

Did it have to be this way? Suppose the market had been preserved to continue to serve as a vehicle for the myths of Sheffield’s working classes? How might this look?

The foundations of Sheffield castle lie beneath the existing market

The culverted Sheaf, meets the Don at the north-east extent of the site

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The Myths We Privilege

Why are certain myths privileged though? Perhaps because Sheffield’s industrial heritage is at best uncomfortable. The demise of the city’s and wider South Yorkshire’s industry largely down to policy.

In a (in)famous Margaret Thatcher quote she states the issue with socialism ‘is that eventually you run out of other peoples money’. Her dismantling of the Socialist State of South Yorkshire is testament to her beliefs.

Her policies of privatisation robbed the area of its key heavy industries and tens of thousands of jobs.

Her trade union act removed any power the workers held.

The workers frustrations largely culminated at Orgreave, in 1984. Thatcher has already branded the miners ‘the enemy within’. At Orgreave the police were used as a political tool, unleashing a

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brutality upon miners and attempting to prosecute many for inciting riot, a crime which carried a lengthy sentence.

I assert its this uncomfortable heritage which means councils have never sought to privilege these mythologies, instead opting for what might benefit the tourist industry and not air any old wounds.

At the time of conducting my research into the previous Socialist State of South Yorkshire, if you had told me that six weeks down the line, many South Yorkshire constituencies would vote for the tories I would have laughed at you.

Perhaps these myths have been successfully erased.

Patron Mythology - George Newton-Cutts

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Newton-Cutts coins the term ‘proper Sheffielders’ in his transcript, inferring their working class status.

Newton-Cutts also worked on the market’s roof during its construction, making his myth all the more interesting as he’s know the market since its initial opening.

Like many others he talks of cafes he frequents and snacking on cockles and whelks.

Patron Mythology - Steve Bush Bush like many reminisces about the sitting on the bus with this mother on a saturday.

Bush’s mythologies are more specific then most though add to the common myth. Bush recalls exact stalls and their trades, alongside familiar characters of the rag ‘n’ tag market.

Bush paints a more vivid picture of the fish and meat stalls in the market, remembering varieties of fish and the smells and sounds of the orchestrated chaos that was Castle Market.

Patron Mythology - Janet Barber Barber shares much common mythology with other patrons, though cites architectural features alongside these making the transcript of great interest.

Common mythologies include that of Potty Edwards, a pot seller at the former Rag ‘n’ Tag market and that of being weighed by another trader.

Barber mentions architectural features, in so many words, including the balustrades sweeping around Castle Market and the variety of signs.

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The Material Passport

The concept of material passporting is a recent initiative to encourage us to consider components of buildings once their original setting has served its purpose and they are no longer of use their.

Components of buildings; windows, doors, cladding, gutters, structural sections, are all to often illconsidered when a building is demolished, prior to the end of their predicted lifespan.

Today’s material passports consist of profiling a documenting these materials in an attempt to ensure their re-use and minimal loss of embodied energy when a building is razed.

re-brand itself, yet ghosts of its industrial heritage are visible in every corner of the city.

Retrospective material passporting could solve this, while remembering the city’s industrial past.

Towards a Mythologies Passport?

Built components, previously used in a different context not only offer the opportunity to preserve embodied energy, but also embodied meaning.

Industrial heritage and its surrounding mythologies are seldom privileged by those who seemingly have agency to make such decisions. Through re-use of such components, forgotten stakeholders in the city’s heritage will be re-engaged and afforded a more Can we go further?

Undoubtedly, this is a huge step in the right direction, active role in constructing the city’s future. but we can go further.

Britain’s post-industrial landscapes are abundant with disused factories, essentially mines of usable building materials.

Sheffield is one such city. Eager to reconstruct and 5.

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Cataloging Each material passported site is to be coded and in turn each of its elements, allowing for their cataloging.

The first part of the code is formed by the post code the component was salvaged from.

The second part corresponds to the components materiality.

The thirds part represents the type of the component.

The forth and final number states the quantity of each component.

Whereby two components have similar codes a letter is to be added to the end of the quantity number.

Type Codes Truss 001 Window 002 Column/Beam 003 Duct 004 Entrance 005 Pre-cast panel 006 Railing 007 Chimney / cooling tower 008 Roofing 009 Signage 011 Floor 012 Wall 013 Mechanical 013 Miscellaneous 014

- Myth Component en-route

- New component

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Quantity

Type

Material

S37BD | 010 | 008 | 064

Location

Material Codes Masonry 010 Concrete 020 Reinforced Concrete 030 Timber 040 Glass 050 Metal 060 Plastics 070

From here onwards, drawings are colour-coded to allow for ease of interpretation.

- Component re-used

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MATERIAL PASSPORT

S12HH0504039292940 (2) Sheffield City Hall Extension A.K.A. ‘The Eggbox’

(1)

(3) Barkers Pool, S1 2HH

(4) Location

(5) Material

(6) Type

(7) Quantity

S1 2HH

050

002

006

S1 2HH

050

002

008

S1 2HH

060

009

001

S1 2HH

060

009

002

S1 2HH

030

006

180

S1 2HH

010

013

<10000

S1 2HH

030

003

018

S1 2HH

040

005

015

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MATERIAL PASSPORT

S47YW858494960594 (2) Davy Works

(1)

(3) Leveson Street, S4 7YW

(4) Location

(5) Material

(6) Type

(7) Quantity

S4 7YW

060

001

024

S4 7YW

060

001

012

S4 7YW

060

001

014

S4 7YW

060

001

002

S4 7YW

060

013

<5000

S4 7YW

010

013

<10000

S4 7YW

010

014

002

S4 7YW

010

014

001

S4 7YW

050

002

001

S4 7YW

060

005

004

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Passport Cartography

In a similar vein to the mythologies cartography, I have envisioned passported components arriving on the Castle Market site and being arranged into assemblage. Once again the arrangement of these components is entirely subjective.

thesis, and my thought process.

Components are scaled in accordance to the prominence in mythologies both in the interview transcripts and other literature.

I then sought to understand material recycling at a rudimentary level, learning to weld and creating smaller physical cartographies from recycled steel off-cuts.

The cartography illustrates the first notions of how the thesis will manifest into architecture and is a drawing great important to the development of the

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Key routes through the existing market are also highlighted by red rails that can be tracked through the drawing.

5. Little Mesters workshops - components of high embodied meaning are renovated to allow the myth to continue.

4. Component breakdown - built components with little mythical relevance are broken down for recycling.

River Don

Hydro-power 1.

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3. Secondary warehouse - similar to the initial warehouse, a sealed thermal envelope again is not required.

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Exhibition Space Myth Works 2. Initial warehouse and adjoining control tower - a sealed, thermal envelope is not necessary for storing components, and to construct one would be unsustainable when unnecessary.

Myth Interface

1. Graving dock - with small pumping station filtering into the Sheaf

Castle Market - Proposed Masterplan 10.

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1. Boat arrives at 2. Components dock are unloaded and stored in the first warehouse

6A. Component exhibited 5B. Component broken down for recycling 5A. Component restored for sale or exhibition

3. Component displayed so mythology can be acknowledged

4. Component stored in second warehouse

Processing Mythologies

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6B. Component sold

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Phase 1 The graving dock (a form of dry dock) is excavated to the northern extent of the site. The Sheaf is also exposed to allow for the hydro-power turbine to be installed and provide power for the rest of the development.

The first passport components begin to arrive on site using temporary moorings, allowing recycled components to be used in the development from the off.

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Phase 2 The infrastructure to catalyse the development is finished, the graving dock is now functioning through the use of a small pumping station. Dock cranes are installed to allow larger components to be unloaded safely from boats.

Construction of the first control tower is nearing completion and the construction of both warehouses and the gantry crane beam are well underway.

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Phase 3 All works external to the existing market are now completed. The gantry crane beam allows for elements to be circulated through the various stages of the superstructure and into the market.

The superstructure will now begin to be â&#x20AC;&#x2DC;plugged inâ&#x20AC;&#x2122; to the existing allowing for redevelopment of the existing structure to be catalysed.

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Phase 4 INSERT - The plug in super structure is now catalysing the development of the existing market environment, and will facilitate myth going to market.

REMOVE - A spherical section is scooped from the existing tower, previously office accommodation, to create the ‘myth works’ environment.

IMPOSE - Roof trusses from passported buildings are imposed to create repository and archive environments

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Phase 5 Myth comes to market. Elements of mythological importance to the Socialist State of South Yorkshire are reflected upon in the â&#x20AC;&#x2DC;Myth Worksâ&#x20AC;&#x2122;. Components are then installed into the existing market.

Floor slabs are carved away to allow for larger elements to be installed, and create opportunities for reminiscence.

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Lower Ground Axo

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Upper Ground Axo

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Gallery Level Axo

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Level 3 Axo

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Level 4 Axo

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The Myth continues...

The market continues to be a vehicle for the mythologies of Sheffieldâ&#x20AC;&#x2122;s working classes.

Mythological components decided to be of value by the people of Sheffield, those with true agency over the myth, are exhibited in the main market hall, supported by the plug-in superstructure, largely constructed from reclaimed building components along the Don. The drawing portrays all of the interventions into the existing market hall, irregardless of the existing structure.

The resultant architecture of the re-interpreted

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market is an assemblage of built components, artifacts and interventions which re-purpose components of the industrial relics of Sheffield.

The text, used as a pattern in many of these drawings, is excerpts from my dissertation, which analysed the use of mythology at Sheffieldâ&#x20AC;&#x2122;s Castle Market.

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Castle Market Visitor Pamphlet

Market through Myth Castle Market is now a different kind of market. A market of myth. The stark contrast between what the market once was, and now is best seen when routes, exhibition elements, and sections of the plug-in superstructure are overlaid on to the existing plan.

Sadly this is the only original floor plan available Castle Market, the rest are only available in a low quality jigsaw format.

The integrity of the existing market has been maintained and only altered where absolutely necessary, typically to facilitate larger exhibition components, and to allow the superstructure to engage with the existing structure.

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Proposed Wormseye In a similar vein to which I first began to analyse the existing market, it is fitting to analyse my proposal in the same manner.

Through the use of the plug-in superstructure, the volumetric nature of the existing space is accentuated.

Further these volumes are used to best display mythical components exhibited in the market.

The basic floor plan does not differ greatly to the original, at the lower ground level (which this wormseye is based), illustrative of a sensitive redevelopment.

Should the structure need to be reverted to its original function, it would be viable to do so. However it is hoped the market will continue in this incarnation and facilitate sustainable, historically aware future development in Sheffield.

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The Myth Interface

1. After viewing the component in the Myth Works, patrons sit and pen their mythologies

2. The myths are placed into milk bottles

3. Each myth in a bottle is collected into a crate corresponding to a myth component

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4. The crates are stored in the archive and await distribution

5. The milk float randomly distributes the bottles around the market

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Exchange Street Section Exchange street, is one of Sheffieldâ&#x20AC;&#x2122;s most historic shopping districts, and is named after this. It is only right this should continue, and the mythologies which culminated in its name be recognised. Instead of hosting clothing and phone repair shops, mythology is now exchanged in the gallery and ground floor shops.

Above these mythology is penned and preserved in the repository and archive spaces.

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Process Section The long site section is crucial to illustrating the key concepts in the scheme. The various layers of mythology intersecting on the site.

The overarching superstructure, setting a precedent, while changing attitudes toward future development, alongside the confluence of the Don and the Sheaf, which could once again catalyse a new age of architecture and industry in the city of Sheffield.

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GC1 OLIVER KEARNEY PORTFOLIO GC2 2020 Edition GC3

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GC4 GC5 GC6 GC7 GC8 GC9 GC10 GC11 GA2

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Sequential Section

1. Boats collect components of passported structures.

2. Components arrive and are unloaded in the graving dock

3. Components 4. Components are stored in are viewed from the dockside the myth works warehouse

5. Components are restored or recycled

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6. Components are exhibited or sold

7. The myth continues

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1. The passported sites are deconstructed before being loaded into boats

2. Boats arrive at the market. The graving dock is then used for the unloading

4. Components are then stored in the second warehouse, prior to being either restored or broken down, dependent on their mythological worth.

3. Each component is displayed and the mythological relevance gauged.

5. The plug-in superstructure transports myth to market after components are repaired and restored in the little mesters workshops.

6. In the same vein as Sheffieldâ&#x20AC;&#x2122;s previous industrial boom, the development is powered by hydro-power, a modern appropriation of the cutlers wheel.

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Haymarket Parallel Axonometric The elevated gallery walk-ways of Haymarket now terminate at a destination, in comparison to the void left, should the market be razed. The typology therefore continues to be sustainable.

The gallery that runs the length of Haymarket now provides access to both the Castle Market and the adjoining plug-in superstructure.

The mythologies of Sheffieldâ&#x20AC;&#x2122;s working classes are

preserved, while the agency over these is re-instated to them and they are granted access to the public sphere of Sheffieldâ&#x20AC;&#x2122;s heritage.

The scheme will continue to develop as new sites are passported and more elements make their way to the site and are sold on or exhibited.

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Dockside View The view from component breakdown, east towards the initial warehouse, where components are first stored after being unloaded from the boats.

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Repository View The repository is an area dominated by the re-used trusses which define the new space, carved from existing offices.

The space is formatted in a similar way to the previous cafes of the market, to mimic a familiar setting.

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Upper Ground View The upper ground floor now offers a different perspective from which to view mythological exhibits.

A large, circular, hole has been carved out of the existing floor plate, to allow for both the exhibition and installation of the ‘Hole in the Road’ panels.

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Lower Ground View

The main exhibit of the re-purposed market hall is the ‘Hole in the Road’ panels.

Underneath the panels is a market stall, re-purposed into a fish tank, similar to that in the original ‘Hole in the Road’, except the fish interact with a replica of Sheffield castle, questioning heritage hierarchies.

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Intoxicated // Rehabilitated

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Attitudes towards drugs, addiction and casual use are evolving, however the methods in which we deal with abuse and addiction is faltering and stumbling at the first hurdle.

Traditional rehabilitation methods tend to involve in-patient treatment at expensive facilities.

Pilot schemes offer controversial solutions.

Such schemes are primarily targeted at harm reduction and safe use for those already fallen prey to the vicious cycle of addiction.

Cities including; ZĂźrich and Vancouver provide more prominent precedent studies of this new wave thinking when dealing with hard drug addiction and currently set the benchmark in harm reduction. The aforementioned schemes, despite reducing harm, are reductive to society.

Supervised injecting galleries often result in drug hot-spots within cities, increased stigmatization and the ghettoisation of whole precincts. The appearance of safer, hard-drug use also creates feelings of acceptability to both users and those vulnerable to addiction.

Stimulant Environment

Despite these inherent negatives, differing pilot schemes offering social integration and a reduced stigma are few and far between.

Intoxicated // Rehabilitated endeavored to reconsider how Vienna as a society deals with addiction and create a model for other cities and societies to follow.

The architecture of the scheme will provide a backdrop for addictive and sensory stimulating experiences, involving both sensory deprivation and saturation.

The scheme challenges traditional rehabilitation models by intervening with casual users and those at the early stages of addiction, potentially vulnerable to graduating to harder drugs and becoming trapped by addiction.

The program will be open to all, in order to encourage social integration and reduce stigma.

Users will be able to come and partake in a safe environment to allow initial engagement with those choosing to use. The stimulating experiences provided within the scheme will then be frequented by users who will be able to seek sensory stimulation without the need for narcotics, minimizing risk of further abuse and graduating to harder drugs.

Hallucinogenic Environment

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Tell the Tale Details As part of the brief for the technical project, a construction detail that embodied the underlying thesis of the scheme was required.

The following tell the tale detail shows a floating wall above a drainage channel, giving the appearance of the building sitting above water.

The detail is designed to confuse, to attempt to trick the eye and play with the idea of what we perceive to be reality.

Floating wall detail explained: Powder coated aluminium water trough Damp proof membrane Concrete Rigid insulation Vapour barrier In-situ concrete

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The bee nesting brick is the central focus of the bee garden.

Nesting bees naturally gravitate to alcoves in which they can begin to build their hives, the form of the bee brick is sculpted to enable this. The bricks would then sit in a bed of lavender.

Honey bees are gradually becoming extinct and are a crucial player in our ecosystem. By providing habitats for bees it is hopeful numbers will rise in the Ottakring.

The low resonant hum of the bees is then piped through audio tubes to increase the sensory overload inside the building.

Modeled at 1:1

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Massing iterations of Intoxicated // Rehabilitated.

Massing models were cast from a mix of cement and plaster, to create a concrete effect, in keeping with the schemes brutalist aesthetic.

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The architecture of Intoxicated // Rehabilitated serves as a backdrop for the sensory experiences that inhabit it. In order to embody this through presentation, for final review the short section was printed as above, and scaled to the projector. A number of video clips were produced and encapsulating the atmosphere and life of each environment.

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[Sew]

Fabric Formwork Concrete [Pour]

[Strike] 43.

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The rig after pouring, wrapped in cling film to ensure moisture retention.

2 measures of aggregate 2 measures of sand 1 measure of cement

Striking the columns from their fabric formwork.

The final 1.2m perforated form. Concrete of decent face was achieved.

The piece is representative of lessons learned and an iterative design process.

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Community in the Void

The interchange, bordered by the Thaliastrasse and Paltaufgasse, forms a gateway into and a thoroughfare through the Ottakring district.

The space is largely intended to accommodate commuters, performing the ‘participant’ (Lynch) role continuing their onward journey but is also inhabited in a number of ad-hoc ways. Once the hustle and bustle of the commuter rush dies down, the area’s ‘observers’ (Lynch) are left, often without purpose or engagement to the wider community of the district.

The pattern of inhabitation below the overpass of the u-bahn is a cauldron of different cultures, creeds and classes inhabiting the spatial void left by the infrastructure of the area. The large columns supporting the u-bahn track forming an ad-hoc colonnade which many gravitate towards for plying trades and sheltering alongside those continuing their onward commute.

The Ottakring district is called home by an increasing number of immigrants. Due to lack of Austrian citizenship, public services, municipal housing and support is difficult to access for those newly settled in the district and city as a whole.

Furthermore this has only widened the societal void between those forced from their country of birth and the those born and raised in Vienna.

Despite the interchange being a meeting ground for many different walks of life there is no facility within the vicinity or the district to unite them and promote engagement with those performing the ‘observer’ role and nurture a sense of community. Those who call the shelter, the fly-over of the interchange provides, home are seldom catered or cared for, though amongst others in similar situations appear to have grown their own sense of community.

The new master-plan for the interchange aims to

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patch both societal and spatial voids within the interchange, through providing services to all who frequent the area without discrimination, therefore enabling those performing the role of ‘observer’ to further engage with society and evolve into ‘participants’. By targeting services for those who are unable to access support from the state the scheme intends to nurture the self-worth of the ‘observer’ within society, to breed self confidence in order to enable widespread engagement within the interchange and further afield in the Ottakring community.

Facilities provided within the master-plan will aim to address personal appearance and hygiene (launderettes, hairdressers etc) in order to restore personal pride, as well as mental and physical health (counseling, medical care) allowing the root causes of the inhabitants struggles to be addressed.

Through catering for the ‘observer’ within the Ottakring, it is hypothesised they will in turn grow a sense of localism for the district that has cared for them and in turn develop a new sense of community and cultural identity.

The facilities within the master-plan will also be available for those performing the ‘participant’ role to use, promoting integration and engagement between ‘participant’ and ‘observer’, therefore enabling those performing the ‘observer’ role to grow within the community into a ‘participant’ role.

The Economists Intelligence Unit, who rank the liveability of a city, measured shortfalls in cultural aspects of Vienna’s liveability. It is arguable that the culture of a city is entirely subjective and therefore difficult to measure by one who is not part of it.

Through the ‘Void In The Community // Community In The Void’ master-plan, it is hypothesised a palpable sense of community and therefore a culture will be cultivated.

MArch 5TH YEAR PROJECTS

OLIVER KEARNEY PORTFOLIO 2020 Edition

Observer // Serial Vision Combining the thoughts of Kevin Lynch, following ‘participant’ and ‘observer’, through Cullen’s notion of serial vision.

There is a clear divide between those participating (commuters, traders) and those observing (homeless, street-people).

The ‘observer’ sits on the fringes of society. It is rare for ‘participants’ to engage with observers, though typically only the ‘observer’ attempts to initiate reaction.

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MArch 5TH YEAR PROJECTS

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Participant // Serial Vision The ‘participant’ utilises the space for its intended purpose, a thoroughfare for commuters continuing their onward journey.

The ‘participant’ often places themselves above the ‘observer’ within the social hierarchy of the interchange.

Interaction between two ‘participants’ is common, though rare with those performing the ‘observer’ role.

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MArch 5TH YEAR PROJECTS

OLIVER KEARNEY PORTFOLIO 2020 Edition

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Isometric Plan As the tram works its way down the new tram tracks, the facades (annotated to the left of the drawing) are activated, these facilities are only needed occasionally.

In the vaults of the railway track are the permanent facilities (annotated to the right of the drawing) which are in constant use.

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MArch 5TH YEAR PROJECTS

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Advice Bureau // Tram Stop 4

Community Library // Tram Stop 4

The Advice Bureau adjacent to the library is aimed at providing more personal information and advice not available at the library. The bureau will provide information about immigrant rights and how best to access support systems in Vienna.

The community library provides study spaces and literature to provide opportunities for self-improvement.

The library will be run by volunteers, providing purpose for those who work there.

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MArch 5TH YEAR PROJECTS

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Hairdresser // Tram Stop 5

Community Workshop // Tram Stop 5

The hairdresser aims to address the inhabitants aesthetic needs, for a greater pride of self. A hairdressers also encourages engagement and conversation, nurturing a sense of community.

The community workshop is aimed at providing inhabitants with skills for the working world and a pride of purpose. The workshop will be available to local tradesmen in return for providing classes in their trade to inhabitants.

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The Community // Serial Vision

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Visualising the finished scheme through serial vision. Inhabitants of the interchange are no longer categorised into ‘participant’ and ‘observer’.

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PRACTICE WORK -ACANTHUS WSM

OLIVER KEARNEY PORTFOLIO 2020 Edition

Sketch planning

Alternative new build office accommodation sketch

New build office accommodation sketch

Acanthus WSM - Building Review Project

The practice were contacted by a housing association interested in streamlining their existing operations while creating new build office accommodation within their extensive grounds.

Working alongside another Part I and our mentor, I was tasked with undertaking the initial site visit and liaised with the client representative to discuss their aspirations.

I was then asked to create an initial sketch scheme of the new-build office accommodation. This was to provide an insight into potential concepts that would respond to the constraints and opportunities of the site.

These were subsequently presented to the client for comment and were well received.

53.

Unfortunately, due to a lack of funding, the client did not pursue this scheme any further then the spatial coordination work stage (3).

The following visuals were created using quick hand sketches and Photoshop. The representational style I chose for the scheme is deeply different to that which the practice usually preferred. As this scheme was one of the first I was allowed to lead, I took the opportunity to try and move away from the corporate-style CGI images I would usually be tasked with producing.

PRACTICE WORK -ACANTHUS WSM

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Denholme Gate

Type E - First floor

Type E 3B5P - Wilson Street, Gainsborough

Type E - Ground floor

Acanthus WSM Residential Projects

Much of my work within practice has consisted of designing residential developments.

I would be tasked with contacting surveyors and collating their information, liaising with clients and providing feasibility studies for schemes from 2 - 200 units. For schemes that progressed further I drafted floor plans, largely from scratch, and created suites from Revit of drawings for the planning process. .

These schemes provided me with the opportunity to liaise with clients and allowed me to lead schemes up until concept design phase and take them to planning, which I otherwise may not have been afforded as a part 1.

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The above type E is one of the detached units from the site, designed for the PRS market. The primary elevation is characterised by panels of burglar-bond brickwork and is generously fenestrated to optimise views towards the Trent.

Wilson Street, Gainsborough was one such scheme I drafted a plethora of new house types for.

All units at Wilson Street were drafted to Lifetime Homes standards.

PRACTICE WORK -ACANTHUS WSM

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Ground floor

Acanthus WSM - Wilson Street

First floor

The type G was one of the more spacious properties from the garage door. These became a feature on a from the scheme. Similar to the type E the unit was number of the house types as well alongside burglardesigned for the PRS market. bond brick detailing, the housing association were approving of.

The bedroom above the garage is defined by a large, floor-to-ceiling window encased by a powder-coated aluminium fin surround, drawing attention away

55.

Ground floor

Acanthus WSM - Wilson Street

PRACTICE WORK -ACANTHUS WSM

OLIVER KEARNEY PORTFOLIO 2020 Edition

First floor

The type K (left) 2B4P and type L (right) 3B5P were designed to be socially rented units. The type K is also used to form rows of terraces around the site.

The aim with the socially rented units on the site was to create the minimal contrast between them and the PRS units, thus encouraging social cohesion.

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Architectural flourishes, such as the burglar-bond brick detailing and aluminium fin surround are carried across for this purpose.

PRACTICE WORK -ACANTHUS WSM

OLIVER KEARNEY PORTFOLIO 2020 Edition

Acanthus WSM - Wilson Street Apartments

Wilson Street was a residential scheme I was allowed to lead for the final few months of my placement, from work stages 0-3.

I provided a number of options to the client initially, including sixteen different house-types (to Lifetime Homes standards) formatted in various manners around the site complete with a new stretch of roadway.

Above are two options I provided for the first apartment block. I had hoped the client would select the option with a partially false facade and a parapet roof, as this option drew upon some on my preferred apartment scheme precedents and offered each flat a small amount of defensible outside space which would have allowed each resident to make their apartment identifiable from the exterior.

Unsurprisingly perhaps, the housing association were more comfortable with the second option and a 57.

more traditional pitched roofs and no balconies.

The practice had hoped I would stay for another year to continue my work on Wilson Street and the rapport I had built with the client, however I chose to return to university to pursue my masters.

I continue to follow the schemes progress as it hopes to start on site later this year, pandemic permitting.

The following images were extracted from a Revit model I created and rendered in Lumion and Photoshop.

PRACTICE WORK -ACANTHUS WSM

OLIVER KEARNEY PORTFOLIO 2020 Edition

Section cut

Visualisation

Masterplan

Acanthus WSM - RIBA Gasholders Competition

The RIBA Gasholders Competition presented the chance to envisage what could become of the multitude of disused gasholders owned by the National Grid.

for the competition submission. This provided a welcome opportunity to experiment with another different representational style and collaborate with another part 1 assistant.

Myself and another Part I carried out a site visit and We later went on to present the scheme to other envisioned a variety of forms to cap the void left by Acanthus associated practices at the annual these large structures, while creating new sculptural Acanthus conference in Swansea. forms for a variety of uses. These included the creation of habitats in large geodesic domes, from which the hexagonal influence is derived, and startup offices in the more inward looking forms.

By providing habitats and facilities for both animals and humans the previously harsh, industrial site creates opportunities for growth and development in stark contrast to its seemingly hostile, industrial former purpose.

I was tasked with providing the visuals and drawings 58.

oliverkearney okearney2@gmail.com 07434505594