Mémoire Vive

MÉMOIRE VIVE MAY 2015 // PETER BYRNE // GROUP // COMMUNICATION

MÉMOIRE VIVE

PETER BYRNE

SUMMARY 3 YEARS

This book tells the story of Peter Byrne’s time so far at University of Ulster, Belfast and whilst on Erasmus at Ecole Nationale Superieure d’Architecture de Nantes. It does not have a clear beginning or ending but rather describes the result of an intensive period of learning and experimentation. While some chapters may be better than others, the overall story provides an insight into the author’s journey of development through a summary of his works over the irst 3 years of his architectural education.

CONTENTS 2012 - 2015

1st Year

2nd Year

Erasmus Year

Travel Sketches

Light 3D Constructions Events (Soapbox) Fragments Journeys Memorial (to Loss at Titanic) Folly

10 18 22 30 32 34 41

Case Study House (Louis Kahn’s ‘Fisher House’) Spatial Quality (900 Cardboard Boxes) Spatial Mapping (Surface of a Tree) House for an Ancestor Surface & Activity Horticultural Centre (City Context, Programme & Occupation)

48 54 60 66 78 82

Mais qu’est-ce donc qu’un espace public?

Shared Readings. A transversal library on pilotis between books and trees.

106

Objets, Sites et Paysage Chemin d’huîtres (Land Art Intervention)

122

Exploring, Observing & Recording

125

FIRST YEAR

UNIVERSITY OF ULSTER, BELFAST, 2012-13

9

LIGHT “INSPIRATION IS THE FEELING OF BEGINNING AT THE THRESHOLD WHERE SILENCE AND LIGHT MEET.” - LOUIS KAHN To begin the exploration of space, form & making, it was necessary to start at the beginning with light.

Whatever our perception or deinition of space & form, it cannot be denied that its fundamental experience commences with the interaction of material & light. Light afects our perceptions of form. We realise there is a direct relationship between the material and the efect of the light, whether it be illumination or shadow.

By becoming the manipulator of a material, namely white paper/card, and investigating how it can modulate light by employing folds, bends, cuts, tears, slots, texture and joints this relationship was explored further.

The light modulators were photographed and tested in the presence of sunlight and artiicial light to gauge which ofered the most rewarding results. The chosen models were altered and augemented to provide solutions for: ʻsomething smallʼ - a function that its the hand and modelled at 1:1. ʻsomething largerʼ - a function that its the body and modelled at 1:5. ʻsomething bigʼ - a spatial construct that a person could enter and modelled at 1:20.

11

LIGHT MODULATOR HAND SCALE 1:1

Beginning with the word ‘light’, a design developed from the notion of gaps in the letters of a word. The word was cut out sixteen times and formed into cube. The word gets lost as a pattern if you don’t focus and is replicated in the projected shadows. The inal model brought together investigations in development models and functioned as hotel signage which could give directions to guests via the shadows cast when light passed through the modulator. If the model is inverted the projected shadows could be cast on the loor to give directions or indicate room numbers.

13

LIGHT MODULATOR BODY SCALE 1:5

This modulator developed from folding triangles in an origami style which when placed under light cast prominent shadows due to the depth of the folds. The inal model functioned as a curtain which would be partially penetrated by light and thus cast shadows within the folds. These folds were compressible and expandable and could be opened or closed along the length of a curtain pole placed along the uppermost folds.

15

LIGHT MODULATOR SPATIAL SCALE 1:20

The inal space model combined ideas explored in initial test models in which light was modulated through gaps along the length of a horizontal form. A rhythmic pattern of light and shade was created by placing strips one after another. The triangulated modulators act as a passage or threshold that from the extremities gradually increases in height until the central space is reached.

_inall model placed under articial lighting to show the night time atmosphere

17

3D CONSTRUCTIONS EXPLORATION OF DRY JOINTS

This project explored the properties of materials and the fundamental knowledge of how ‘things’ are designed to hold together.

A beautifully articulated composition can be derived from cleverly devised principles of structure: balance, tension, gravity, movement and stress.

It was necessary to create a 3D construction with only dry jointed structural connections. Many possibilties were tested, but the dry joint which provided the most interest consisted of a wooden dowel rod slotted into a small hole in a lollypop stick held together by friction.

_concept sketches _photograph of inal expandable structure

19

MODEL STUDY

MATERIAL, CONSTRUCTION & EXPANSION

_smaller scale model testing repeated joint _photograph of inal expandable structure

21

EVENTS (SOAPBOX)

OBJECTS, OBSERVATION, EXPERIENCE & REFLECTION.

Soapbox (noun) An improvised platform used by a self-appointed, spontaneous, or informal orator; something that provides an outlet for delivering opinions.

Object (design) The brief asked for the design and manufacture of an easily transportable ‘bespoke artefact’, constructed solely from corrugated cardboard, that would be able to support a person’s weight.

_photograph of cardboard collected in the studio _photograph of soapbox elevation

23

The chosen design of the soapbox was derived from the various qualities & textures observed within the large pile of corrugated cardboard hoarded in the studio that was collected from local shop bins.

A simple form consisting of a single standing level with interior support.

25

SOAPBOX INTERACTIONS PLACE, OBSERVE & REFLECT

After manufacture, the soapbox was placed within numerous locations along a journey through Inner-East Belfast and Titanic Quarter. Then it was necessary to stand upon the soapbox, like the undistinguished and humble orator who seeks, to gain attention within a crowd. In doing so, distinguishing yourself and your creation amongst the given environment and gaining a diferent perspective.

Whilst doing so, observing the efects of the soapbox, as an object, upon the surrounding space and recording any interactions by those using the space.

Below, the section of High Street illustrates, via the lines of the sight, the common behaviour of passers by to glance at the object from a distance but then avoid any interaction at a closer proximity.

_section of high street, photoshop collage _photograph of sopabox insitu, hill street

27

SOAPBOX INTERACTIONS PLACE, OBSERVE & REFLECT

The project introduced the idea of architecture as an ‘event’ between space, material, form, context and personal occupation.

_photograph of interaction on high street _photograph of event at titanic quarter

29

FRAGMENTS

OBSERVATIONS OF THE OBVIOUS AND THE OBFUSCATED

This project looked at the spaces that form the critical junctures between the architectural form and the wider spatiality of a neighbourhood. These spaces themselves are fragments of the urban pattern of a neighbourhood.

Across the architectural contexts, under observation, these spaces can difer signiicantly.

The chosen alleyway space in Westbourne Street, Inner-East Belfast is located between the back yards of a row of terraced houses and a small community hall. Hidden, behind a metal gate the space is subtle and could be easily passed by unnoticed. However, under closer observation it was clear the alley was central to the activity of the neighbourhood, being used by the local young people as a gathering space at night and a place where the resulting rubbish from these activities would remain throughout the day.

After observing these deining elements of the space it was necessary to observe, measure, record and model at 1:20 in white card this fragment.

_photograph of 1:20 white card model of alleyway space

31

JOURNEYS (INNER-EAST BELFAST)

AVONIEL LEISURE CENTRE TO ST MATTHEWS PRESBYTERY (VIA WESTBORNE STREET)

In the previous 2 projects the fundamental elements and fragments of space and place within their frontier city have been observed and represented. However, the elements and fragments of a city are but parts of a wider whole.

There are feelings, instincts and relations within a city that lie beyond what is possible to interpret in drawing or model form and therefore need to be expressed in other forms.

This project explores this theme through the idea of a ‘Journey’ that unites the elements and fragments.

It was required to analyse, map and represent a journey from Avoniel Leisure Centre to St Matthews Presbytery (via Westborne Street) and produce a Programmatic Diagram and a 5 minute Poetic Film.

The Journey as a Programmatic Diagram (see page opposite) illustrates the elements of the journey that characterise that journey after it has been decided which elements are prominent and which can be discarded, for example the kind of paths, edges, nodes and landmarks that are encountered.

The Journey as a Poetic Film (see below) aims to creatively interpret the speciic social, economic and cultural politics that are embodied in the journey by using the encountered architecture, spaces and activity.

_the journey as a poetic ilm (stills) _the journey as a programmatic diagram

33

MEMORIAL (TO LOSS AT TITANIC) MEDIATOR & THRESHOLD

This project concluded investigations of Inner-East Belfast with a design based investigation into the idea of a memorial to ʻloss at Titanicʼ. This is a theme with complex relationships to the Frontier City of Inner-East Belfast and therefore built upon the research already conducted during the semester. The key concepts of light, space, form, programme and threshold that were explored throughout the projects of irst year were put into use to design a memorial space, with a threshold between inside and out.

Whilst the memorial space was the ultimate focus of the building, it was also important to consider the space at the end of a ‘Journey’ through the city. The relationship between architecture and people was explored as the building itself would act as a mediator and threshold between the people of Inner-East Belfast and their personal perception of Titanic. In this regard, how the memorial space was entered was important as this threshold space would provide a mediation between the reality of everyday life in the city and the experience of the memorial space.

_sectional model & initial sketches _photograph of inal model, approaching threshold

35

REFLECTION

LIGHT AS A DRIVER OF SPATIAL EXPERIENCE

Preconceived deinitions of ʻloss at Titanicʼ with that of the loss of life associated with the sinking of the Titanic were not be used. Instead, it was necessary to consider individual ideas about ʻlossʼ in terms of the physical, social, economic and cultural means of Titanic within Inner-East Belfast where the ship-builders and their families would have lived.

The work of other architects, namely Louis Kahn’s ‘National Assembly of Bangladesh’, Tadao Ando’s ‘The Church of the Light’ and Le Corbusier’s ‘Chapel Notre-Dame du Haut of Ronchamp’, were explored to investigate how light can be used as a key driver of spatial experience as well as to create an intimate and personal experience of relection.

_louis kahn _development of existing terraced house site in section through sketches _photograph of inal model, staircase leading to a window view of the titanic ship yard

37

IN PRAISE OF SHADOW

JOURNEY THROUGH A SERIES OF SPACES IN DARKNESS & LIGHT

The chosen site on the Lower Newtownards Road was selected from a previously explored alleyway space and disused terraced house during the ‘Journeys’ project. Thus the design of the memorial was conceived as a ‘Journey’ through a series of spaces in darkness and light. It explores the potential of travelling though these varying lighting conditions and the resulting experiential qualities and phenomena.

_sequence of photographs showing various events along the ‘journey of light and shadow’ within the memorial space _photograph of inal model, darkness to light

39

FOLLY

VOLUMETRIC DEVELOPMENT OF A 6x6x6m CUBE

In architecture, a folly is a building constructed primarily for decoration and has no real purpose. As there was no function or ‘use’ required for the folly, it was asked to consider: the formal organisation and the elements needed to construct it. The project aimed to provide a basic understanding of domestic construction materials as well as how construction details connect and relate to the whole.

The given site was adjacent to the PRONI building and Belfast Metropolitan College in Titanic Quarter Belfast, a sloped area that is cleared of buildings. The folly was to be placed in this environment in an attempt to create a picturesque setting in which pedestrians could simply walk and view the structure.

The folly had to be designed starting from a cubic volume of 6x6x6m and express the ideas and virtues associated with the domestic architecture of a given architect, namely Le Corbusier. Therefore, the inal design focused on the notion of architectural promenade, free design of the façade and framed views.

_le corbusier’s villa savoye (architectural promenade and framed view) _initial sketches integrating the folly on the site’s graident _technical section, originally drawn at 1:20

41

MODEL STUDY FRAMED VIEWS & OPENINGS

Set out on a north-south axis, orientation and sunlight was considered in terms of how light would enter into the folly through the elevations. Body-length windows are appropriately placed to provide framed views, moving the visitor towards and away from the central space. On the north-facing faรงade, shuttered openings provide a constant difused light and a roof light above the inal staircase provides direct sunlight into the folly.

_west-facing elevation _inal folly 1:50 grey card model

43

INTERIOR VIEW MOVEMENT & LIGHT

The folly was designed to have a ‘route’ or sequence of movement that takes a person from ground level to the roof terrace using a series of stairs, connecting a sequence of platforms around a central triple height space.

_photograph of model showing difused light entering the central space _le corbusier’s villa la roche

45

SECOND YEAR

UNIVERSITY OF ULSTER, BELFAST, 2013-14

47

CASE STUDY HOUSE

FISHER HOUSE, HATBORO, PENNSYLVANIA, 1973

A three week project which introduced regional context as a design driver. It involved hand drafting of plans, sections, elevations and the creation of a component model of Fisher House by Louis Kahn. Drawings were completed at 1:100 and modelled at 1:50.

The Fisher House is the simplest expression of Kahn’s idea: two cubes, one dedicated to the living room (served space) and a second one containing the other the bedrooms (serving space).

These two cubes merge on an angle as though by chance. However, they are not perfect cubes and the “cube” containing the living room is not even square in plan, but they are both close enough to be perceived as such.

_basement, irst loor and roof plan _ground loor plan

49

SECTION AA SPACE & LIGHT AS ONE

For Kahn, space and light were the same thing, and orientation, a precise art. The lounge area overlooks the north and the river, through an elaborate window in a corner that incorporates some tailor-made furniture.

_south-east facing elevation _section aa

51

_sketch of house consisting of two cubes embedded in sloped site _1:50 grey card & wood sectional model

53

SPATIAL QUALITY 900 CARDBOARD BOXES

Documenting the construction setup and the quality of light in the inal spaces created.

Unfolding 900 lat-packed cardboard boxes we built a large volume in the studio. Excavating the volume by removing boxes one by one to irst gain entry and then to reveal and create spaces.

We continued to remove cardboard boxes, making windows and roof lights, until a point near to the loss of structural integrity. The inal position of each box was recorded into 6 levels.

55

SOLID & VOID EXCAVATING SPACES

The inal volume left is a series of solid and void spaces in which there is constant variation between light and dark as well as open and closed. As a quick one day exercise we had to think of how to make the structure livable in for a short period of time if it was placed in Buoy Park outside University of Ulster, Belfast. The real test was to try to maintain the essence and quality of the spaces previously created with the cardboard boxes in the real world.

57

59

SPATIAL MAPPING

SEEING & RECORDING - MAPPING THE SURFACE OF A TREE

This project supported ways of seeing and recording through analytical drawing/mapping, use of scale and intellectual manipulation of space.

It was required to select a A4 size section of a tree from Buoy Park, outside the university, then survey and record it graphically at a scale of 1:1.

The survey techniques used could not damage the tree. Therefore, to carry out the survey required a high degree of abstract thinking, invention and attention to detail in recording and communicating the area of study. Various moulds were used to obtain an inversion of the tree’s surface and then used to create an actual copy of the tree’s surface.

_clay, plaster and wax models produced while determining an appropriate survey technique _looking at the surface as an imaginary landscape

61

_graphite rubbing of the tree and photograph of the selected area of the trunk _axonometric of inal mapped surface

63

GENERATING CONTOURS WORKING WTH SCALE & REPRESENTATION

The dimensional survey included the production of plans, sections and elevations and a 2:1 scale physical model.

_2:1 grey card contour model _plan, sections and elevations

65

HOUSE FOR AN ANCESTOR (A BAKER) AN ABSTRACT BUT MEASURABLE LANDSCAPE

The mapped and contoured landscape would provide the site for the house for an ancestor so upon completion of the study, it was asked to propose and rationalise a physical intervention in the modelled landscape.

The contours were drawn and modelled at 2:1 in the real-life and in relation the actual tree but a scale was then applied at 1:1000 to generate an imaginary landscape in which the house could be placed. Thus the house was located in an abstract but measurable terrain provided by the spatial mapping of a tree’s surface, in the previous project.

It was asked to identify an ancestral family member to design for, the chosen was a home-baker.

_the selected site location was drawn and modelled within the generated landscape

67

SITE SITUATION A VOLCANIC LANDSCAPE

The cast model of landscape or tree’s surface from the previous project resembled a mountainous volcanic landscape like that found in Lanzarote.

The heat stored naturally in this type of landscape lent itself to the design of house for a baker who could use the energy to power a stove for baking bread like that seen in El Diablo restaurant (below).

_ bbq that sits on top of active volcano, el diablo restaurant, montaĂąas del fuego _photograph of cast model resembling a volcanic landscape _site plan showing delivery van access

69

_site section aa showing south-west facing elevation

_site section bb showing north-east facing elevation

_site section cc showing east & north-east facing elevations

_site section dd showing section through bedroom, growing courtyard & storage room

71

GROUND FLOOR PLAN LIVE, BAKE & GROW

1_kiln balking space 2_entrance 3_delivery space 4_storage 5_training workshop 6_dining area 7_viewing platform 8_grow boxes 9_dark room 10_bedroom 11_bathroom 12_ sunbathing area 13_stairs to roof terrace 14_kitchhen 15_living area 16_stairs to cone 1st loor/ roof terrace

_sketch view of layered threshold in the cone _ground loor plan, hand drawn originally at 1:100

73

BAKERS’ KITCHEN

A SPECIAL AREA TO WORK WITH A RELATIONSHIP TO THE LANDSCAPE

_sketchup model rendered in kerkythea & photoshop

75

MODEL STUDY BAKING KITCHEN LIGHTING

_1:50 detail threshold model, grey card and balsa _1:100 test model of baking kitchen lighting, grey card and wood

77

SURFACE & ACTIVITY CREMATORIUM & CEMETERY

This exercise investigated the relationships of architecture, landscape and programme. We started with a notional lat surface of 1220 x 815mm which then had to be transformed into architectural space through the application of surface strategies, for example; disperse, puncture, sink, cut, fold, enclose and weave. The modiied surface or ‘datum’ was to be assigned a scale and material qualities which would appropriately accommodate an outdoor activity along with its associated supporting services, e.g. lighting, meeting space and storage. The required outcome was a highly crafted presentation model which communicated the inal surface qualities and treatments.

The created lanscape accommodates a crematorium and cemetery which symbiotically provide a digniied and respectful context for death. A rammed earth or turf surface has been punctured, sunk and folded to create pockets of activity and points of reference allowing mourners to physically and mentally retrace their journey during their period of grief. Events are layered throughout the surface and the vegetated surface provides a heightened sense to the inal resting place. The chosen lighting, materiality and spatial qualities speak to one’s primitive emotions in the hope of instilling a feeling of inality to the most traumatic of times. Mourners are encouraged to explore and, in fact, to celebrate the relationship between death and living. The scheme responds to both the personal and public needs of mourning and remembrance considering both individual and shared experiences in means of death as a ceremony and not just a mere process.

79

81

HORTICULTURAL CENTRE, NORTH QUEEN STREET CITY CONTEXT, PROGRAMME AND OCCUPATION

1931

The site for the proposed Horticulture Centre for Grow NI is situated on North Queen Street. The car park is located within an 19th Century built up, industrial inner-city area and is currently disused. It is passed as a means of accessing a number of low and high-rise dwellings and a large commercial centre.

North Queen Street was historically home to mostly factory & mill workers of Gallagher Tobacco Factory and York Street Mill as well as their families, built on the site in the 19th century was an old industrial linen factory in Yorkgate.

It can be seen that the urban typology still remains in some parts of North Belfast. However the area, particularly close to the site has been changed drastically with the introduction of motorway. _20th century plan, 21st century plan & site plan _photographic collage of existing car park

This project asked for the creation of a Horticultural Centre in North Belfast for ‘GROW’, a charity developing food-producing community gardens in the area. Its design was to develop upon explorations of landscape from the previous project ‘Activity and Surface’ by overlaying these ambitions onto the site.

The centre was to provide an appropriate space for the work of a community garden and create new ‘growing’ spaces for a variety of plants and animal life. It was to enable the local community to learn about community gardening and participate in classes, meals which related to the local context. Also, it had to be able to host visitors both residentially and educationally as well as provide additional outdoor activities on the site, namely a market space.

Programme elements were as follows: Indoor and outdoor growing areas include tool and material storage An associated market for selling produce An educational event space of 100 person capacity A teaching kitchen and potting shed A residential accommodation space for a one-week stay for 8 people A social dining and seating area An administration oice for 5 staf and support spaces such as stores, toilets as appropriate.

83

SITE STRATEGY

RELATIONSHIP TO CITY AND USE OF LANDSCAPE STRATEGIES

1

2

3

4

5

6

1_site (disused car park) 2_total mass 3. mass division 4_push/pull of masses - creation of courtyards & sheltered spaces 5_addressing existing terraces, delivery route & tesco 6_landscape roof - north queen street horticultural centre

85

SITE SECTION

HORTICULTURE BETWEEN COMMERCE & CITY LIVING

4

2 1

1_site (disused car park) 2_shopping centre (tesco) 3_terraced housing 4_tower block housing (grainne house)

3

87

SITE SITUATION

NORTH QUEEN STREET (DUNCAIRN)

_clay model render of concept model _site plan

89

GROUND FLOOR PLAN

A SEQUENCE OF INTERNAL AND EXTERNAL SPACES

1_market 2_oice 3_market/oice store & wc 4_ growing courtyard 5_ bedroom accommodation 6_dining area 7_teaching kitchen 8_living area 9_potting area (event space above) 10_sunken potting courtyard 11_tool storage &wc 12_indoor growing area 13_raised growing platforms over deliveries

_view of growing courtyard

A

B

B

A

91

SECTION AA

A LANDSCAPED ROOF FOR GROWING

B

6 3 4

7 5

1_accommodation 2_dining area 3_tunnel access to green roof 4_teaching kitchen 5_indoor potting area 6_educational event space 7_storage

2

1

93

SECTION BB

INTERNAL DINING/ EXTERNAL GROWING

_technical section of dining area, hand drawn & photoshop _environmental strategy diagram

95

SECTIONAL MODEL INTERNAL/EXTERNAL RELATIONSHIPS

_1:50 model, balsa, grey card, grass, birstles & soil _dining room as viewed from external wheat growing patch

97

_1:100 model, grey card & grass

99

COMMUNAL SITTING & STUDY AREA

A communal living space and residential accomodation to host temporary visitors both residentially and educationally.

_sketchup model rendered in kerkythea & photoshop

101

KNOWLEDGE

EDUCATIONAL EVENT SPACE

A communal space used by the local community to share knowledge and learn about horticulture through the participation in classes.

_sketchup model rendered in kerkythea & photoshop

103

ERASMUS YEAR ENSA NANTES, 2014-15

105

A TRANSVERSAL LIBRARY SITE LOCATION: HAUTE INDRE - A HIGH TIDAL ZONE

The library is located in the ‘Pre Tarau’ zone placed in a gap between the trees as not to create a scar in the landscape. This natural area next to the Loire river is recovered as a place of activity and relaxation. A new boardwalk that crosses several other places along the global transect was developed to promote the islands and their relationship with the Loire. This same boardwalk creates a link from the village to the library, cutting between existing trees and newly planted colonnade of fruit trees. These trees, on approach, block the view of the river creating a veiled threshold. This threshold attracts the visitor until they reach the silence of the Loire.

_site map showing location of global boardwalk and individual open-air library project _site map and photos shwoing site location

107

GROUND FLOOR PLAN

EXPLORATION OF LIVING, DEAD AND FLOATING WOOD

The public space consists of an open-air library, a reading room, a cafĂŠ, a store for collected dead wood and fruit and a terrace. It acts as a shared gathering place for the community of Haute Indre and an extension of the local primary school.

Bookcases are placed around the existing trees on site to attract people to the main covered space containing the three enclosed volumes. Diferent height bookcases provide a place to sit and enjoy the view as well as storage for books.

Existing examples of open-air public libraries which have a special relationship with the surrounding trees were used as precedents.

_precedents: new public library, daegu, south korea (top), open-air library in the woods, larmer tree gardens, north dorset _zoom of the plan showing the community table formed around a tree, the open-air bookcases, reading room and terrace. _plan showing boardwalk approach, three enclosed volumes, open-air bookcases, terrace and pontoon.

109

SITE SECTION

A COMMUNAL SPACE ON THE BANK OF THE LOIRE

Étier de Tougas

Haute Indre (Village)

Port

Indret PrĂŠ Tarau (Site)

Loire River

111

BETWEEN BOOKS & TREES A TRANSVERSAL LIBRARY ON PILOTIS

_techical ‘section aa’ of reading room and terrace, illustrator & photoshop

On the grass bank of the Loire, the design is raised of the ground on pilotis to protect it from the high tide which can occur. These vertical lines created cause minimal visual obstruction as they almost blend into the surrounding environment. Prefabricated wooden elements are used to minimise damage during construction.

The covered area consists of three enclosed volumes (a cafĂŠ, a reading room and a store for collected dead wood and fruit). The terrace ofers a place for people to sit and enjoy the stunning view while drinking a cofee or for ishermen to cast their line.

113

_1:25 fragment model

Model making allow experimentation with the openings to give ideal lighting conditions for reading and provide views to the outside. Therefore creating a relationship between the outside pontoon, circulation space, cafĂŠ and reading room. Varying materiality and light provides diferent levels of intimacy - creating an appropriate atmosphere whilst maintaining a visual connection.

115

_photograph of fragment model shwoing interior of the reading room _initial concept sketch of an enclosed volume and open-air bookcases

117

COMMUNAL SHARED READINGS

Diferent height bookcases provide a place to sit and enjoy the view as well as storage for books.

119

OPEN-AIR

CONTEMPLATION

A relaxing place for reading or contemplation with a speciic relationship to the Loire river.

121

CHEMIN D’HUÎTRES

QUAI DES MARÉES, PETIT MAROC, SAINT-NAZAIRE

This project addressed an urban space as a territoiry to invest in. It was necessary to choose a disused part of the landscape in the town, Saint-Nazaire, and manipulate the space as a material. The town has a major harbour on the right bank of Loire River estuary. Given its location, Saint Nazaire has a long tradition of shipbuilding and ishing, including oysters.

The chosen site was located on the coast of town, near the harbour and a small beach. The small plot of land was made up of overgrown grass and a small mound of vegetated soil. The intervention was an organically shaped path that lead from the extremity of the site to the existing mound upon which a round wooden industrial cable spool was placed to act as a table.

The intervention transformed the town at a small human scale and played with the oyster ishing heritage of the town. The high-placed ‘table’ was intended to provide a place to eat the local oysters while enjoying a panoramic view of the surrounding coast line. As though people had left their inished eaten oysters in a line, the path was formed as such along with sand from the nearby beach.

_process photos showing digging the soil & placing the wooden industrial cable spool on the existing mound _photgraph of completed path of oysters

123

TRAVEL SKETCHES

EXPLORING, OBSERVING & RECORDING

125

MADRID CAXIA FORUM

Feburary, 2014

MADRID MATADERO

Feburary, 2014

127

POISSY VILLA SAVOYE

Feburary, 2015

SAINT-NAZAIRE BASSIN DE SAINT-NAZAIRE

March, 2015

129

This book tells the story of Peter Byrne’s time so far at University of Ulster, Belfast and whilst on Erasmus at Ecole Nationale Superieure d’Architecture de Nantes. It does not have a clear beginning or ending but rather describes the result of an intensive period of learning and experimentation. While some chapters may be better than others, the overall story provides an insight into the author’s journey of development through a summary of his works over the irst 3 years of his architectural education.