Jack Oaten Architecture Portfolio A4

Architecture Portfolio Contents 1-8 -9 -10 -11 -12 13-17 -18 -19

Digital Crematorium 3rd Year Kew Gardens / Home of 2030 competitions Fauxburg / Inscape Virtual Exhibitions In-vent 48 hour competition Gate House 3rd Year Work in Practice Studio John Bridge North-East Architectural Heritage Centre 2nd Year Photography Selected works

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This project tackles the growing number of social media profiles left behind after death. This is achieved by providing people a space to visit physical manifestations of their loved one’s virtual selves in the form of digital urns materialising the deceased’s virtual life. These digital urns derived from code are read like three dimensional QR codes so memories can be replayed, relived..

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2 CONTEMPORARY

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The process of a digital cremation could be considered a more poetic way to deal with a loved ones social media after death, rather than deleting or leaving it online. Enabling the data to exist in a physical form in a location designed to allow people to mourn.

V IRT U A L CREMATION

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Identity is confirmed and all social media content is downloaded. This code is then stored in the servers.

The raw ACSII text code is converted into hexadecimal code via a code converter. Hexadecimal code is how computers precisely document colour, CD1719 = red

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The image is then run through a heightfield software which takes each colour value and converts it into a height. This leaves an undulating plane which physically still contains the original code

This form was created using data downloaded from my own social media and is the physical representation of my virtual self. Each curve representing a memory. This form has been designed to be physically touched by human hand and to be read by computer. A 3D scanner would be used to reverse the transformations made to give the code this physical form and the original data can be displayed. In this case the data being my facebook profile.

This undulating plane can then form a 3D object. This is done by wrapping the bumpy surface around a cylindrical form to create a warped cylinder.

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The hexadecimal code is converted into colour values and laid out in order. For this code it was laid out in a 34 by 34 grid meaning there were 1156 colour values in total.

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Grasshopper Script

PARAMETRIC RAUMPLAN

Raumplan refers to the act of creating spaces that are designed in section and elevation, as a series of rooms. A sequence of spaces opposite to the Plan libre style of Le Cobusier. In this plan of Muller house

by Adolf Loos, it is clear that the exterior windows are a product of a process. They are placed roughly from the centre of the room and their size is dependent on the size of the room. This also creates a facade which honestly expresses the plan of the building without compromising the internal spaces.

Using the Voronoi pattern as a starting point I created a selfsupporting structure which could increase in density to give more privacy or more compressive strength.

A code resembling raumplan was created, starting with two cuboid volumes. The sequence of spaces is designed to act as a linear route, and ends with an exit to the south of the tower. Placing a point in each public space which requires light, and giving each a charge, depending on how far away it was from an exterior wall, is then used to decay the exterior walls of these cuboid.

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GRO UN D F L O O R

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BASEMENT L E V E L

The west-facing chapel frames views of the dene

Chapel Coffin lift Coffin lift/storage

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PERSPECTIVE

View of Post ceremony exhibit The chapel expresses the view to the dene as a crescendo. At the entrance the roof is low and the structure is buried, but as the building meets the point of its primary function(ceremony), the roof rises up and the building emerges from its topography allowing the view to take centre stage. This requires the building to be completely translucent at its end. The issue of privacy is tackled using the Voronoi pattern structure, which will slowly increase in density until the walls become solid, also creating the opportunity for intriguing shadows in the transitional spaces.

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SEC TION

The memory space is located to the south-west of the tower. Buried underground and containing 10 identical rooms, each of which is designed to be dark and have projections displayed on its walls.

The lobbies leading to the memory spaces contain 3 dimensional scanners that scan the artefact and convert the physical form of the urn to a digital code which allow the viewer to see back into their loved one’s life, almost like looking through a photo album.

The two long walls within memory spaces show a chronological set of highlights from one’s life, while the three screens at the end are controllable by the viewer.

The computing power to scan the urn and convert it into code is vast. The network of servers are located in between the memory spaces, and generate a lot of heat. Circulating around these servers is a cooling system, which ends up producing vapour . This is then used to create a misted garden. The mist becomes a light fog that surrounds the area, helping to conceal it while giving the mourner privacy.

View of memory space

The tower is printed in concrete using a robotic arm which extends and rotates around the core. This allows the tower to grow a little every day and means that weather conditions and seasons will impact the different layers of the concrete, creating a readable Stratum indicating the age of each layer. The 3D printer is also used to recess the name and the date of death into the niches similar to the way grave stones are carved into.

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M O D E L

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S C H E M E S GROWTH OVER 40 YEARS

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Before assembly can be performed the core has to be sunk into the ground and the retaining pile foundation wall laid.

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The tower will be constructed over a number of years and will be in use while its being built. This will allow different weather conditions and seasons to affect the texture and tone of the 3d printed concrete visually and make the age of the structure visible. When exploring cemeteries, one often finds themselves looking for the oldest grave so this should be the case with the digital colombarium too. There will be a steel structure that will be covered as the building is 3D printed. This will visually give an indicator to the height of the structure when finished.

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Once the tower is constructed and all 9720 places are taken a new tower will be started on the site

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Kew Gardens competition Shortlisted

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Home of 2030 competition Roof Design

The concept of the tree-house is inspired by nature’s growing cycle. The base structure mirrors the arbitrary patterns found in nature and mimics the foundation of trees and plants. The house itself brings a juxtaposition from the tree’s organic curves to that of a skewed perspective on a vernacular form. It is fabricated with materials that follow a continuous life cycle through being recycled and reused, showcasing how we can learn and sustainably live alongside nature. The two main trunks of Kew’s Black Pine tree form the focal point of the Treehouse entrance, creating a natural gateway into the Treehouse. During the journey to the entrance, the two end facades act as an interactive experience with an abstract image of a Funghi taken the Kew’s Fungarium archive.

This competition was a collaboration between Studio John Bridge and I. The design premise was to contain all the dwellings under 1 canopy. The area under this canopy could then be a buffer zone between the inside and out and would allow the dwellings to stay temperate with ease.

The Treehouse is positioned to one side of the tree, elevated above the base trunk and tree roots, to engross the user into nature’s setting, giving an alternative perspective to Kew’s gardens through the transparent recycled glass, which half obscures the viewpoint with the natural colours formed through the creation process of the material. This transparent material continues above into the roof component, to focus and guide the user into the wildlife, which inhabit the Black Pine tree.

Dynamo Visual programming code using dynashape solver to simulate a shell structure over modules below.

Shape of the Revit base directly affects the model and placement of structural anchors also change the model.

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Virtual exhibition pieces dovetail joints virtual gallery

FAUXBURG

www.dovetailjointsvirtualgallery.co.uk/fauxburg

An experiment in mass and volume, using the digital medium to play with the concept of false weight through light and materiality.

Fauxburg comes from the French word false and the German castle giving the impression of a fortified Structure but with the materiality of light cloth. The title also brings forward the phonically similar word iceberg describing a Large floating mass.

INSCAPE

While in lockdown our perception of our homes has been altered, our world has become restricted to the confines of these places, the outside world confined to the view out of our windows. In this piece I imagine the inside of the home as an infinite space. The exterior as a confined place in which the outside world resides, this sculptural artifact links to the infinite space through the windows of the home. The skewed view of the outside projects into the space and a series of walkways allows you to see the outside world through the perspective of my lockdown world.

www.dovetailjointsvirtualgallery.co.uk/jackoaten1

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1st Place

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Sectional model of periscope tower.

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The Gate house music centre is a project designed to consider the site of Jesmond Dene as a whole , it considers the journey from the gates of Jesmond Dene park to the music centre.

Perspective looking up periscope tower.

Initial Structural model

The music centre was designed with weathering , acoustics and lighting in mind .Grooved concrete walls are designed to attract moss and wildlife allowing the building to gradually settle into the site over time while its shape sharply contrasts the natural forms surrounding it. Angled windows in the auditorium are designed to light the stage whilst keeping the audience in darkness, as well as to bounce sound back to the performers. Glass blocks integrated into the concrete walls allow for refracted light to enter the circulation spaces. The cantilevered auditorium space provides a natural shelter for the existing open air theatre below. The tower containing the camera obscura pays homage to the monolithic tower block that overlooks the woodland area.

Sketch showing sound, and light in auditorium space

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Goosefoot Lane

Two Airbnbs with micro home and commercial unit

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Goose foot lane was a project in which I was appointed lead designer.

The brief was to create two Airbnb pods which took advantage of the riverside site as well as creating a larger unit which would not only serve as a micro home to the owners, but also be a place where they could run their business, which would include a small shop.

The site required a thoughtful approach to foundation as this was a in flood risk area. I proposed that the buildings be lifted via stilts. For this I looked towards Peter Zumthors (Allmannajuvet Zinc Mine Museum) who uses a similar system to solve a different problem. However both projects succeed in helping the volumes blend into their surroundings mimicking the rhythm of the surrounding trees by extending the stilts up to become the supports for the roof structure.

Initial Sketch: Raised Shipping containers with separate roofs connected by shared staircase between stone walls Second iteration: Raised modified shipping containers with interconnected raised walkways. Flat roofs Third iteration: Closer community of two storey pods using timber cladding to imitate surrounding trees.

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GATE

Food and drink outlet GATE (Moor Lane) was a Project I was appointed lead designer on. The brief was to create a shipping container Food and drink outlet similar to Londons’ box park. The site however is a small triangle of land in front of flats. My goal was to maximize the amount of usable space respecting the privacy of the flats. The facade facing the street is bold in its advertising while the facade facing the shops and flats is subservient.

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Drawing In Practice Right: Studio sketches While working in practice I cover my desk in a large roll of paper and use this to quickly figure out spatial ideas , plans , elevations and detail.

Its also useful as a communication tool when discussing ideas within the practice.

Above: Hand drawn Pen and Marker

Below: Temporary frontage mural 2.4m wide

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Sketch sent as initial idea for what we could fit on site. I proposed a modular tower (for student accommodation) with ideas borrowed from the likes of Japanese metabolism.

I was tasked to design and draw a graphic while our windows were replaced.

Series of Important buildings in the city of Preston Drawing with black marker pen on plywood.

Left: Hand drawn Pen and Marker After success with the previous sketch I was tasked to tackle a Bicycle Workshop/Cafe with accommodation for Airbnbs and office spaces on a site besides a canal using the same methodology of a modular stackable construction.

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Small extension to rear of a faux Tudor house. Using Tudor architectural language with a contemporary scale to the openings I created a project which both contrasts and blends in with its surroundings. The Perforated brick, glass and timber gable work together to create dappled light through the southern facade.

New built home, which challenged me to create a front facing garden to take advantage of the south facade while providing the clients privacy by implementing garden walls and sliding timber cladding.

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New build home to the rear of a historic railway cottage.

Reimplementing the railway lines, using it as an axis, upon which the form of the original cottage is mirrored to create the new dwelling.

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A new build bungalow located on a long and thin site. The three volumes all revolve around an internal courtyard.

Volume 1: functional Volume 2: living Volume 3: bedrooms Functional corridors, which include a study room and a cloak room allow for a view from the front to the back, also separating the volumes into two distinct gables.

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North-East Architectural Heritage Centre Initial development

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This Project aimed to create an archive and an exhibition space placed at opposite sides of the river Ouseburn. it was conceived whilst visiting a family member attending Durham University whose student union had been threatened with demolition. This student union being a seminal project of the late Ove Arup.

After researching many similar cases, particularly Owen Luders’ Trinity square in Gateshead (Demolished 2010), I developed this project consisting of an archive and exhibition to document notable buildings found in the north-east. The centre would then campaign for their restoration or reuse through exhibitions.

Once the exhibitions were no longer needed this structure could be dismantled and the archive would continue on indefinitely.

The larger Archive building was designed to evoke a bunker-like structure with minimal openings .This would help control the environment within the structure, extending the life of the documents, drawings and photos collected throughout the heritage centres’ life. The void within the building creates a visual language which insinuates a missing piece, this piece can be found across the river in the form of the temporary Exhibition Space. This levitates within a scaffold of timber, matching the dimensions of archive.

The scaffold approach helps to deal with the difficult topology of this side bank, while reducing the amount of material needed for construction. The Bridge that links the two buildings had to be able to raise and lower to allow boats to pass under both on the river and on the slipway to the Archive side .The visual language follows that of the other two structures, creating a gate-like structure for the Exhibition space to pass through.

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Photography

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