The 21stt century school must be capable of preparin ng children to become members of a preparing society that that is changing so rapidly we can scarcely y imagine what shape the future will take. Fountain Fountainbridge nbridge Primary school is located in Edinburgh, in the centre of a large new masterp plan designed to accomodate masterplan thousands of people and hundreds of shops whilst providing only a vague notion of community commun nity to bind its inhabitants together. The scho ool has the potential to bring these school new residents resiidents together, and from the outset has been designed to serve the dual functions of schoo ol and community focus point-a school persona al space in the midst of an impersonal personal development. development School Loc cation School Location
Edinburg Edinburgh, gh, Scotland
Site Description The schoolâ€™s location adjacent to a canal provides myriad opportunities for learning and the creation of a new public realm.
Panoramic view of the site from across the canal.
Journal Documentation Drawing exploring approaches to the treatment of the site.
Material and Texture Social Hub Understanding the school as the heart of the new masteprlan, and exploring connections to the surrounding urban fabric.
Exploring the Void A crack in a rock is an irregular, dynamic void. Carving such a void through the heart of the school would serve to open it up to the local community.
Manifesto A visual manifesto expressing the aims of the school. The quote is taken from the Ancient Greek pupilâ€™s oath.
CONCEPT MODELS These models explore various strategies for locating the school on the site. Elements of each model were adopted in the final design. I was particularly interested in overlapping, ambiguous spaces for bringing community and pupils together as well as the idea of cantilevering the school over the street as a way of thrusting the pupils into the community they are about to become a part of. The model, â€˜dynamic voidâ€™ explores the notion of a central atrium space which is one of the key elements of my design.
Shell Headquarters. Kathryn Gustafson.
California Academy of Sciences. Renzo Piano. The terraced landscape at Isla de la Gomera.
Roof Garden Model Concept model (above) and rendering (below) of the roof garden, investigating the overlapping of terraces and pathways to create a â€˜classroom in the sky.â€™
Landscape Model A seam of concrete extends along the road from the school and ensures the building has a presence along the entire street. Terracing provides seating space for the public, allowing outdoor performances. The downward slope of the site draws people under the cantilevers and towards the heart of the school, creating a definite sense of arrival.
ROOFSCAPE AND LANDSCAPE DEVELOPMENT The aim of the landscaping is to connect the school and the canal, creating a strong sense of place and allowing the children to learn about the ecosystems associated with the waterway. In addition, the terraced landscaping creates an informal gathering place for the community. A roof garden provides an further connection to nature, and is used as an outhdoor classroom.
Sectional Model This laser-cut maquette models the atrium and related spaces. From the side of the model, views into the atrium can be seen from various parts of the building. The effect of the exterior landscaping drawing people under the cantilevering classrooms and towards the main entrance can also be seen. an
Roof Plan 1. Glazed atrium space 2. Terraces for planting 3. Ramp
4 7 3 6
1. Entry 2. Assembly/Gym 3. School office 4. Principalâ€™s office 5. Janitorâ€™s store/office 6. Toilet 7. Servery 8. Changing/Shower 9. Dining/Exhibition 10. Library Zone 11. Disabled WC/Shower 12. Nursery 13. Nursery toilets
Rotated R tated ground floor plan p n showing sectional cut displayed in model. c
3 2 14
13 12 6
Ground Floor Plan
Second Floor Plan 1. Year 7 2. Year 8 3. General purpose room 4. Staffroom 5. Year 5 6. Staff resources 7. Cleaner store 8. Staff toilet 9. Toilet 10. Activity space 11. Outdoor play area 12. Year 4 13. Activity space 14. Learning support base
FLOOR PLANS The assembly hall (2), dining (9), and library area (10) can all be combined to form a large, flexible space, and the public is guided through the school by va series of thick and thin spaces. Materials are used to create thresholds - concrete is reserved for the atrium space whilst wood is used in more intimate areas such as the activity spaces and classrooms.
The youngest students are sheltered in the rear of the school while the older students progress upwards and outwards. The final year classroom protrudes from the main body of the school, thrusting the pupils into the world they are about to become a part of. A terrace on the second floor provides an informal play area, and the roof garden provides space for the pupils to learn about the environment, whilst replacing the vegetation that the footprint of the school has taken up. The internal atrium space provides a constant visual reference and orientation point whilst ensuring that all members of the school are aware of each other, enhancing the sense of community.
First Floor Plan
perspex I investigated various techniques for casting concrete. I was exploring how texture can be used to visually demarcate various areas of the school.
1. Year 3 2. Year 2 3. Assembly hall mezzanine 4. Central store 5. Tutorial room 6. Activity space 7. Tutorial room 8. Year 1 9. Resources 10. Meeting 11. Activity space
Section A-A 1. Library zone 2. Meeting room 3. Activity space 4. Toilets 5. Primary classroom 2 6. Primary classroom 3 7. Headmasterâ€™s office 8. Primary classroom 7 9. Activity space 10. Staff resources 11. Roof terrace
Section B-B 1. Entry space 2. Gym/Assembly hall 3. Gym/Mezzanine level 4. Primary classroom 2 5. Primary classroom 3 6. General purpose room 7. Activity space 8. Staff room 9. Primary classroom 5 10. Roof terrace
SECTIONS AND RENDERINGS These drawings describe the quality of light and material inside the school. The large glazed south - facing atrium window at the rear of the building draws warm light into the heart of the school, and provides a visual focus for those entering from the north side. Concrete surfaces within the building have been angled and overlapped to create a play of light and shadow that changes as the day progresses, minimising the hardness of the material. Areas that receive less light feature warmer wooden floors and coloured walls. The building has been sunk into the ground by 1m to ensure it doesnâ€™t block light to surrounding tenements.
LIBRARY ZONE This rendering shows the school library zone viewed from the ground floor. The bookshelves conceal the main staircase for pupils going up to their classes. The library zone also acts as a threshold between the public entry and assembly space, and the rear activity area of the nursery. On weekends and school holidays, the library can be opened to the public, and the dining space beside it can be used as a cafeteria. In addition, the assembly hall can be used for dance classes or other community-related activities in the evenings or even during the day when it is not being used by pupils. Rental of the space could also be a source of revenue for the school.
EXTERIOR VIEW This image shows the building viewed from the street. The classrooms cantilever out over the street to create a sheltered space for parents to wait in the afternoon whilst creating a strong identity for the school. The shape of the classrooms allows open views down the canal and the palette of materials is relevant to the context of the building, where concrete and stone are prevalent. The green verge on the roof of the building also serves to soften the edges of the building whilst drawing attention to the roof garden.
02ris Archive IN ORDER FOR A PART OF THE PAST TO BE TOUCHED BY THE PRESENT INSTANT, THERE MUST BE NO CONTINUITY BETWEEN THEM
The Walter Benjamin Centre for Common History, Paris The project entails the architectural resolution of a brief for a semi-public archive facility located on a marginal site in the city of Paris. The focus for the project is Walter Benjamin’s ‘Arcades Project’, a vast collection of notes, citations and essays which the archive will house. Any work of art exists at a certain distance from its subject. Distance allows room for interpretation; a landscape painting is oils on canvas - not bark, soil and grass. Pleasure comes from experiencing the landscape through the eyes of the artist and agreeing or disagreeing with what is included or what has been left out. Dimitris Porphyrios writes, ‘by distancing the artefact from its model, the artist invites us to see what we have never seen before.’ The same theory can be applied to ‘The Arcades Project’ and I took the notion of distance as a starting point for my design. The site is a marginal one, a strip of land next to the River Seine between the Pont de la Tournelle and the Pont de Sully, defined by a large ramp that leads down to it, and the two bridges that cut across it.
Walter Benjamin, ‘Arcades Project’ 470, [N7,7]
The site alongside the river Seine in Paris
Interpretation By selecting and codifying the material in ‘The Arcades Project,’ Benjamin provides us with a personal interpretation of the city. In the same way, the archive provides an edited account of the site. It twists and distorts, alternately pulling away from and cutting into the historic fabric. It reveals and obscures views, encouraging a multiplicity of interpretations. A visitor is able to combine Benjamin‘s fragments of Paris with snapshots of the river, iron or stone of the city he describes.
Exploded Axonometric Showing relationship of the archive to the ramp and river
Concept Models Volumetrically exploring mass, scale and siting
Scenario Modelling Imagining the spaces inside the archive
INTERPRETATION/CONTAMINATION Walter Benjamin’s ‘Arcades Project’ is a vast collection of literary fragments of Paris. These fragments are bound together by a highly organised alphabetical system, through which the author provides a personal image of the city. The lack of continuity between passages allows a great deal of room for further interpretation and each reader is free to construct a personal image of the city. My design for the archive seeks to build on this notion. The aim is to provide a multiplicity of experiences for the visitor. The archive responds to the site in order to begin to edit it, creating the beginnings of a narrative. The building is distorted to allow views through and across so that fragments of ‘The Arcades Project’ begin to contaminate each other and are exposed to pieces of the city, allowing room for a great deal of personal interpretation and understanding.
Diagonal section through ramp a-a
Section along ramp b-b
upper terrace entry lower terrace entry administrative archive
Elaboration Following the final review there was an opportunity to elaborate on the design and produce an A1 drawing entitled â€˜Collisionsâ€™ to describe the archive. During the elaboration period, I refined the notion of distance, and considered urban parkland as an example. A visitor to an urban park experiences snapshots of the city in a series of edited views, experiencing the same distance from the city as a work of art from its subject. I decided to explore this further in a series of surreal interventions, cutting away at the building to bring the outside in and juxtapose the history and preservation typical of an archive with the freshness and flux of a natural landscape.
Opposite Page: Verbal map of Leith Walk, Edinburgh
Group Project: Role - Group Leader ‘Between Strategy and Tactic’ The brief called for the creation of a map of Leith Walk in Edinburgh, one that engages sensitively with the shifting and provisional social tactics that make up the everyday space of the street, moving beyond standard cartography towards an eclectic art of mapping that brings forth interstitial spatial practices. Our approach was to create a verbal map of the street combining strategic and tactical text with the ultimate aim of transporting the streetscape to the studio by means of an installation. All the text visible on Leith walk was collected and used to create a map and installation, part of which can be seen on the opposite page and below.
Textual map of the street
security by chubb private car park for visitors only primary care nhs trust allander house inchkeith house private use by patients staff and visitors only entrance gates will be locked as required and action taken against unau parking lothian primary care nhs trust allander house lothian primary care inchkeith house inchkeith house secured by adt secured by adt ww.abbey.com 0845 765 4321 get more from the new abbey credit card up to £ on your supermarket shopping abbey more ideas for your money abbey part of the santander group 08000 www.abbey.com/credit cards ask here today 15.9% apr typical variable the new abbey credit card up to £50 back supermarket shopping 0% for twelve months on balance transfers 2.5 % handling fee applies 0% for 3 mo purchases ask here today abbey more ideas for your money the new abbey credit card time delay security in use not have immediate access to cash power assisted door induction loop available opening hours Monday 9 to 5 Tu to 5 Wednesday 9 to 5 Thursday 10 to 5 Friday 9 to 5 Saturday 9 to 12.30 Sunday closed no smoking in this branch guide dogs and guide dog puppies crash helmets must be removed cctv free cash withdrawals to all members banks and building societies including barclays hsbc nat west lloyds tsb the royal bank of scotland bank of scotland nationwide yorkshire bank alliance and leicster excludes credit card cash advances edinburgh landlord accredit approved landlord the maltings inverkeithing now let £370 p/m available toreden place rosyth £450 p/m now road dalgety bay £550 p/m now the maltings inverkeithing gold now available inside consol suncenter opening h days incl weekend no available ask inside strictly over 21s only strictly NO football colours KFC no smoking it is the law to £5.99 consol suncenter www.consol-suncenter.com australian no stopping regulations apply events o Thursday Sunday poker tourney surveillance of corridors no coultrix allowed strictly return within 90 mins badge no limit recycling 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Installation The walls of the studio were covered in text documented and collected at Leith Walk. Moving text - collected from buses and cars - is projected onto fabric panels floating in the room to create a verbal experience of walking along Leith Walk.
Edinburgh, h, Scotland
Site plan showing extent of site
Photos showing the bland urban condition at the site
BETWEEN PLACE AND NON-PLACE The brief called for the creation of a public place on the periphery of Edinburgh.
Concept drawing of a patchwork landscape full of variety and texture.
Part of the inventory of urban spaces created during research into the non-places of the surrounding area.
I approached the design by carrying out a survey of the surrounding area and in particular the non-places within it - car parks, loading bays and empty grass-land. I created an inventory of these plots and used these forms to create a sculpted, variegated landscape on the site. The landscape is intended to encourage a variety of uses or none at all. It is an object between place and non-place, defined solely by the activities that take place within it.
new black painted metal railings
watertank re-rendered planter created above 10.00
new decking installed to roof terrace
2,145 single step up to terrace
brick planter with black railing guard to lightwell
extent of existing extension
FLAT ROOF CONSTRUCTION
new kitchen 50
new 2nd bedroom
BUILT UP ROOF COVERING TYVEK REFLEX UNDERLAY TIMBER FIRRING CREATING 3째 FALL 116mm CELOTEX TA3125 INSULATION between joists 125x50 NEW RAFTERS SCREWED TO EXISTING (SEE ENGINEERS DRAWINGS) POLYTHENE 500 GAUGE VCL 12.5mm PLASTERBOARD
neighbouring property - hallway
from brick matching the existing
extended walls to be constructed
My time with the practice was my first long-term exposure to the architectural profession. I learned quickly and was given a number of varied tasks. I produced a complete feasibility study for a series of bungalow extensions, participated in a design competition for Northwich Cultural Centre, produced design proposals for the renovation of a flat, and a designed a series of facades for a number of residential new-builds.
corrugated metal roof removed
The Crawford Partnership London
Site Visit Photos
shower room 50 HALL
CRAWFORD PARTNERSHIP: 3 MONTH PLACEMENT The Crawford Partnership is a small practice operating in North London. The practice focuses on high quality residential work, as well as larger commissions for school extensions/renovations and some competition entries.
Plan: 15 Colherne Mansions
Roof Insulation Detail
0 05 W Work Placement
Project Tasks During my time with the practice, I was responsible for drawing a large number of details and participated in various site visits. In addition, towards the end of my placement period, I was asked to redesign a flat and incorporate an extension for a new kitchen and roof terrace (far right).
Northwich Cultural Centre Competition proposal for a cultural centre in Northwich, a small town in the North-West of England.
Croydon Bungalows I was asked to prepare a feasability report for a series of extensions to bungalows in Croydon, London. The bungalows are made of prefabricated panels assembled on-site.
Hawthorn Grove I designed the elevations below for three residential new builds in South-East London. 13 Hawthorn Grove
Installation studio The walls of the he e stu studio st diiio d o wer we were w er e documented covered in text d doc docu ocu oc cu c umen me me ment ent ntte ed d and and nd Walk. Moving collected at Lei Le L Leith e th ei hW alk. a alk al lk Mo Mov M o ov ving ing in ng collected buses text - colle lllle llle ected d ffrom ro om b bu uses sess and an a nd nd cars - is projected projec pr ojjjec o ec ctte ed o onto on ntto n nto o fab ffabric fa a ric riic ic panels floating float lo oa oat o at atin ing ng iin ng n the e rroom oom oom om tto o create experience off crea atte e a verbal e xperie ence en ence eo walking Leith Walk. wal walk w wa a ing along Le eith Wal allk lk.
47 Acacia Road
S A D L E R
cafe ventilation ducts from unit 6 at high level
0 06 W6 Work Placement
Riser above t
S Q U A R E
4.0.14 FFL +49.60m
Ash Sakula Architects London
FFL +49.51m 4.0.13
Entrance to Car park
Lift Shaft (8 person)
ASH SAKULA ARCHITECTS: 6 MONTH PLACEMENT Ash Sakula is a prestigious architectural practice of 15 people whose work has been extensively published - in the Architectural Review, Architects’ Journal and RIBA Journal as well as a number of foreign publications. The practice is actively engaged in architectural debate and I was fortunate to experience the full scope of the architect’s role, extending beyond individual buildings to politics, urbanism and art.
Bold Lane, Derby The drawing above is part of the ground floor plan for the Bold Lane development in Derby. I produced a large number of technical drawings for this project, learning a great deal of practical information and valuable CAD drawing skills.
3.0.03 Entrance to Shop
FFL +48.06m RWP
Note: Install temporary balustrade along level changes R
During my time with the practice, I worked mainly on a mixed-use residential and commercial development in Derby, as well as assisting on a number of smaller projects including the redevelopment of Sugar Lane in East London, Deptford Market, a project for an affordable hotel in Colchester and the design of a brief for a primary school in the King’s Cross area of London.
Retail Unit 6 507m2
The Witham I was asked to do the drawing below as part of a competition entry for a cultural centre in Barnard Castle, a town in the Nort-East of England.
Hand-drawing Apart from digital technical drawings, I was asked to produce a number of drawings by hand in order to clarify some of the more complex details. Far right are photos taken from a site visits I participated in.
B U I L D I N G 3
Sugar House Lane Below are the stills from a short film I produced to promote the development of Sugar House lane in East London.
07 Artwork Drawings and Paintings
In my free time, I enjoy drawing, painting and photography. I attempt to tackle a wide variety of subjects in all media types. Below are ink drawings focusing on concepts of pattern and texture, whilst on the opposite page is a black and white portrait of a friend created using acrylic paint. I enjoyed the restriction of using only two colours, and relished the challenge of bringing the subjectâ€™s features to life with such a limited palette. On the following page are two photographs selected from the many I have taken on my travels. One is of St Peterâ€™s Basilica in Rome, and the other is of Panagia Paraportiani - one of the most beautiful Greek churches - situated on the Cycladic island of Mykonos in the Mediterranean.
Roof Insulation Detail
Thank you for your consideration