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RACHEL LEATHERBARROW DESIGN PORTFOLIO BA (HONS) ARCHITECTURE NEWCASTLE UNIVERSITY SESSION 2013-2014


TABLE OF CONTENTS

ARCHITECTURAL DESIGN

PROJECT 1

GRADUATION PROJECT-

STAGE 3

REACH POINT CEMATORIUM

CHAPTER 1 EMBODY CHAPTER 2 COLLABOURATE CHAPTER 3 BUILDING PROPOSAL

PROJECT 2

CAN RICART PROJECT

PROJECT 3

ECOLOGIES

OTHER MODULE WORK

ARCHITECTURAL TECHNOLOGY PROFESSIONAL PRACTICE & MANAGEMENT PRINCIPLES & THEORIES DISSERTATION

REFEREES

Work, personal and academic references available on request


REACH POINT CREMATORIUM MIDDLEHAVEN GRADUATION PROJECT

-

RE-CONSTITUE STUDIO

This project engages with issues of Social & Ecological Sustainability, Material Awareness and Collaborative Processes on both a macro and micro scale. It endeavours to reconsider, reconfigure and reconstruct issues of materiality andcommunity. The project is comprised of 3 phases. The first phase seeks to investigate and question the composition and attributes of an everyday material. This followed into a Collaborative master planning phase in which I adopted the role of a citizen-designer assigned to take part in the re-development of a mixed-use community at Middlehaven, Middlesbrough, plugging in to the stalled regeneration efforts of the 2004 masterplan by British Architect Will Alsop. During this fictional master plan I pitched for an area of the scheme to develop individually, this lead to the final phase of the project in which I designed my championed building, a crematorium to service the community of Middlesbrough. The project aims to challenge the existing typology for crematoria design, moving away from utilitarianism and proposing the a scheme which offers a place of pilgrimage and spirituallity. The project takes you on a journey from the micro-scale of materiality to the macroscale of community planning, culminating in a fully realised building-scale proposal, informed by the previous.


PHASE 1 EMBODY My graduation project began with an initial research project entitled ‘embody’. The focus of this introductory project was to investigate and question the composition and attributes of an everyday material at a 1:1 scale. I chose to research glue, and undertook a series of material tests into how it could be re-conditioned and reconfigured. I became particularly interested in its property to give form to the form-less producing a series of screens by combining this man made material with natural fine grain materials such as sand and timber shavings. The intriguing semi translucent qualities of these panels led me to produce a series of lamps. This focus on the calming and spiritual qualities of light became a crucial reference point throughout the project.

Making and testing process pendant lamp made using string and fabric glue

Making and testing process

t types of adhesives and natural materials to create distinct qualities of light.

4

5

lamp created theand embody task, made using offcuts of timber and PVA desk lamp madeduring using pva sawdust


CHAPTER 1 EMBODY

The Re-constitute project engages with issues of Social & Ecological Sustainability, Material Awareness and Collaborative Processes on both a macro and micro scale. We were invited to reconsider, reconfigure and reconstruct issues of materiality and community, treating both as different scales of the same theme. The project is comprised of 3 phases. The first phase seeks to investigate and question the composition and attributes of an everyday material at a scale of 1:1. This followed into a Collaborative master planning phase in which I adopted the role of a citizen-designer assigned to take part in the re-development of a mixed-use community at Middlehaven, Middlesbrough, plugging in to the stalled regeneration efforts of the 2004 masterplan by British Architect Will Alsop. During this fictional mater plan I was assigned an area of the scheme to develop individually, this lead to the final phase of the project in which I designed my championed building, a crematorium to service the community of Middlesbrough. The project aims to challenge the existing typology for crematoria design, moving away from utilitarianism and proposing the a scheme which offers a place of pilgrimage and spirituallity. The project take you on a journey from the micro-scale of materiality to the macroscale of community planning, culminating in a fully realised building-scale proposal, informed by the previous.

Exploratoryinvestigations investigationscarried carried outduring during theembody embody briefusing using different typesof ofadhesives adhesives andnatural natural materialsto tocreate create distinct qualitiesofoflight. light. Exploratory out the brief different types and qualities Exploratory investigations carried out during the embody brief using different types ofmaterials adhesives and naturaldistinct materials GRADUATION PROJECT

RE-CONSTITUE

to create distinct qualities of light.

My graduation project began with an initial research project entitled ‘embody’. The focus of this introductory project was to investigate and question the composition and attributes of an everyday material at a 1:1 scale. I chose to research glue, and undertook a series of material tests into how it could be re-conditioned and reconfigured. I became particularly interested in its property to give form to the form-less producing a series of screens by combining this man made material with natural fine grain materials such as sand and timber shavings. The intriguing semi translucent qualities of these panels lead me to produce a series of lamps. This focus on the spiritual and calming qualities of light became a crucial reference point later on in my design process.

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cHAPTER 2 COLLABOURATE

Adopting the role of a citizen-designer I worked within a small group to develop a master plan for Middlehaven. Drawing inspiration from other dockside redevelopments we developed a cohesive proposition for the masterplan, with a strong emphasis on healthy living, pedestrianisation and green spaces that worked with the existing landmarks to be retained. Our pitch back to the studio was designed as a tourist information board. Presenting our proposal as though we were tourist guides to the new and improved Middlehaven. Taking the studio on a tour from the new residential zone through to our proposed international recreation destinations.


COLLABORATIVE MATERIAL COLLAGE OF MIDDLEHAVEN


GP SURGERY

FIRE STATION

PRINCES TRUST HEADQUARTS

COMMUNITY CENTRE

FOOTBALL ACADEMY

PRODUCTION CENTRE

BOAT CLUB

CYCLE HUB

MAGGIE CENTRE

HOTEL

RECYCLING HUB

RESTAURANTS

TOURIST INFORMATION CENTRE

DIGITAL ARCHIVE

URBAN FARM

THEATRE

EXTREME SPORTS

MARITIME MUSEUM

YOUTH CENTRE


WELCOME TO MIDDLEHAVEN


KEY PROPOSALS: • • • • • • • • •

nsp ort er b

rid

ge

• • • • •

tra

• •

new residential housing community centre health and wellbeing centre urban farm eco recyling centre arts hub theatre digital library centre for the deaf and visually impaired secondary school ski centre casino heritage museum maritime conservation centre transport hub crematorium

Site location within the group masterplan

Tees river estuary

3

COLLABOURATIVE MASTERPLAN scale 1:6000


CHAPTER 3 BUILDING PROPOSAL :

REACH POINT CREMATORIUM

The building programme developed from my choice of site; an abandoned wedge of wasteland along the River Tees, formerly the heart of Middlesbrough’s industrial heritage. The site in its present condition was synonymous with death and decay. The new proposal endeavours to reconfigure this landscape as the location for a crematorium and memorial complex, with the surrounding land becoming a public park which facilitates a memorial planting scheme linked to the crematorium’s seed sanctuary. The landscape and building was designed around the grieving and healing journeys of the buildings main user - ‘the mourner’. Using nature, and in particular water within the building, as a means of providing visual and sensual relief from the intensity of death.


SITE PLAN 1:2000

KEY memorial planting rememberance garden meadow river rushes salt marshes seasonal planting


ROOF PLAN SCALE 1: 1000

public approach via river boardwalk to seed sanctuary

mourners approach to veiw floral tributes

ceremonial approach

approach to memorial chappel from the public park


TE INFLUENCES

SITE INFLUENCES

SKYLINE OF MIDDLEHAVEN + MATERIAL PALETTE OF SITE

SITE STUDY OF LAYERS, EXPOSURE + VEIWS

SITE INFLUENCES

skyline of Middlehaven

line of Middlehaven

skyline of Middlehaven

study of layers and orientating veiws

study of layers and orientating veiws material palette of the site

study of layers and orientating veiws

18 material palette of the site

18


FINAL MODEL FINAL MODEL 1:200 MODEL

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N

N

N N

stepped landscape forming rememberance gardens with building profile ebbing out towards the river

1:200 model

1:200 model

stepped landscape forming rememberance gardens with building profile ebbing out towards the river

N

N

N

STEPPED LANDSCAPING FORMS THE REMEBERANCE GARDENS - BUILDINGS PROFILE EBBING OUT TOWARDS RIVER

1:200 model

19 stepped landscape forming rememberance gardens with building

19


BB 1. portico 2. lobby 3. ceremonial reception 4. cloak room 5. telephone room 6. atrium 7. waiting room 8. main sanctuary 9. second sanctuary 10. private mourners courtyard 11. vestry 12. store 13. floral tributes square 14. open columbarium 15. civic reception 16. seed sanctuary 17. open plan office space 18. meeting room 19. pier 20. rememberance gardens

TID

E

AA

LOW

19

HIG

H TI

DE

15 16

14 8 13 11 12

7

5. 6

10

20 2

9

BB 3

1 18

AA

4

GROUND LEVEL SCALE 1:500

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AA

BB

17

15

9

14 13

12 1 5 16 11 7

10

3

8

2

6 4

BB

AA

1. sky space 2. memorial chappel 3. pool 4. atrium 5. columbarium walls 6. urn room 7. courtyard 8. waiting room 9. farewell room 10. archives 11. waterfall courtyard 12. viewing gallery 13. incineration room 14. plant room 15. seed store 16. control room 17. herb garden

LOWER LEVEL SCALE 1:500


ATMOSPHERIC SECTION (AA) scale 1:200


CONSTRUCTION

TECHNICAL STUDY flashing

1:80 slope

JUNCTION AA glazing gutter cast in-situ concrete

AA 1:20 section through chimney lightwell

2 layers of plyboard with white wax coated finish

120mm of rock wool insulation steel clamp

JUNCTION BB tension cable

plyboard air gap

rock wool insulation

accoustic sealant rock wool insulation

CC 1:5 detail of wall to floor junction

CC 1:20 of wall construction

NOISE CONTROL: JUNCTION CC

CONSTRUCTION SECTION OF CHAPPEL CHIMNEY (scaled to fit) original format 1:20

When designing the Santuary Halls it was nesessary to prevent both airborne + impact sound transmission to ensure mourning parties had maximum privacy. The construction detailing of the halls will prevent flanking transmission by isolation.


NCE

AGEING OF THE COLMBARIUM WALLS

MOURNERS JOURNEY

AGEING PROCESS OF THE COLMBARIUM WALLS

MOURNERS JOURNEY

AGEING PROCESS OF THE COLMBARIUM WALLS

DEATH

DEATH

MEMORIAL

REBIRTH

MOURNERS JOURNEY

AGEING PROCESS OF THE COLMBARIUM WALLS

REMEMBERANCE

REMEMBERANCE REBIRTH use DEATH of water as a means of providing visual andMEMORIAL sensual relief from the intensity of death

WATER TO DIRECT MOURNERS TO PLACES OF CONTEMPLATION

I

II

III

IV

V

MOURNERS JOURNEY

24

LONG SECTION (BB) scale 1:200

24 LONG SECTION (BB) scale 1:200

24 LONG SECTION (BB) scale 1:200

LONG SECTION (BB) scale 1:200

REMEMBERANCE

REBIRTH

DEATH

25

MEMORIAL

I

MEMORIAL

REBIRTH

REBIRTH

II


III

IV

V


APPROACH TO MEMORIAL CHAPPEL


INTERIOR PERSPECTIVE OF WATER COURSE

Diamgram illustrating the uses o

incline continues into the park

INTERIOR PERSPECTIVE COURSE with the assending corrior and water channel projectiong the building sits as partOFofWATER the landscape building out into the park

beyond the

central cross axis’s projecting out into the landscape, through the langu channel which carves its way down to the lower level of the building di

I


ceremonial approach

FINAL MODEL 1: 500

ceremonial exit


crememonial approach to

the crematorium

memorial

approach

FINAL MODELS DETAILING THE KEY APPROACHES TO SITE BY THE VARIOUS USERS

FINAL MODEL 1:200


UMBARIUM WALLS

EXPLODED AXONOMETIC

dappled lighting under portico, as if beneath a tree canopy floral tributes courtyard in which mourners can meander around the copper clad coloums like trees around a forrect clearing

Dappled lighting

under portico designed to feel like you are beneath a tree canopy

functioning chimneys stand in the

floral tributes courtyard in which mourners can DENOTE MOMENTS OF floralbeneath tributesa courtyard in which mourners can CHIMNEYS ARE POSITIONS EMOTION Dappled lighting under portico designed to feel like you are tree canopy floral tributes courtyard meander around the copper clad coloums like meander around the copper cladaround coloums like INTENSITY WITH THE WATER COURSES GUIDING MOURNERS trees around a forrect clearing trees around a forrect clearing which mourners can meander

TO AREAS OF QUIET CONTEMPLATION

copper clad sanctuary lightwell

Inhabited concrete wall with alcov

Inhabited concrete wall with lighting alcoves on which to sitdesigned to feel like you are beneath a tree canopy Dappled under portico

Inhab


STORYBOARDS OF MOURNERS STORYBOARDS OF MOURNERS & STAFF& STAFF

memorial approach

mourners

awaiting the

chappel space

courtyard sequence

hearse

open plan office with veiw of approaching funeral parties

greeting mourners under portico entrance

lobby,

public quadrangle for farewell tributes

access

to private corridor and public atrium

memorial bronze coloums

approach to farewell room

veiwing

in public quaderangle

maintance of herb garden/ entance to seed santucary

gallery into incineration room

33 walkway to remeberance

garden

approach to floral tributes

mourners watching cremation process from veiwing gallery

collumbarium

vaults


ZONING AND USER ROUTES

KEY

water

private (staff use)

public

ceremonial


MATERIALITY STUDIES OF COLUMBARIUM WALLS

MATERIALITY STUDIES OF COLUMBARIUM WALLS

34


DEVELOPMENT OF LIGHTWELLS 1:100 maquettes of chapel spaces exploring the use of light wells and copper to create a play of coloured shadows within the volumes, to 1:100 maquettes of chapelandspaces exploring the use of wells and to create a east play west of coloured shadows within volumes, evoke a sense of mysticism moments of distraction. Thelight lightof wells arecopper orientated to the andof south, to track thethe suns move- to 1:100 maquette studies of Sanctuary Halls exploring the use light wells andorientated copper totocreate a play coloured shadows a sense of mysticism and moments distraction.from The Steven light wells the east westeffect and was south, to track suns movement evoke throughout the course of the day, this ideaof developed Hollsare chapel of light. The desired thatthe chapeltheceiling within the volumes, tocourse evokeofa sense of mysticism and provides momentsHolls of distraction. wells are effect orientated to the chapel ceiling throughout day, this idea developed of The light.light The desired was thatthe wouldment act like a forestthecanopy with the beams of light that would blink from withinSteven the chapel chapel space at differnt times east west and south, to track the suns movement throughout the course of the day. would act like a forest canopy with beams of light that would blink within the chapel space at differnt times

DEVELOPMENT OF LIGHTWELLS DEVELOPMENT OF LIGHTWELLS 40 40


This idea is developed from Steven Holls ‘Chapel of Light’. The desired effect was that the roof would act like a forest canopy as rays of light flickered across the Sanctuary halls, symbolising the transient and temporal nature of life. Below further test models, increasing the heights of the lightwells


HAND DRAWING conceptual map of middlehaven, maping the geology, ground textures and civic landmarks HAND DRAWING conceptual map of middlehaven, maping the geology, ground textures and civic landmarks

38


castingof explorations mourners wall,river reflecting river and channels water movements. wasused also used ti explore possibility of the wallbecoming becominganan inhabited inhabited structure, structure, in thethe processional routeroute casting explorations mourners of tactile wall, tactile reflecting channels waterand movements. ModelingModeling was also ti explore the the possibility of the wall in which whichtotoretreat retreatoffoff processional

39


DEVELOPMENT

Initial massing model- exploring the organisation of the building based around the suns orientation to define areas of ceremony, memorial and public faces of the building.

raising the ground

42

using different opacities of walls

around the building to shelter and enclose the site, creating a winding ceremonial approach to the entrance


acities of walls

acities of walls

public and communal spaces to the east

public and communal spaces to the east

public and communal spaces to the east

Private ceremonial spaces to the west relating to the sunset and river estuary

Private ceremonial spaces to the west relating to the sunset and river estuary Private ceremonial spaces to the west relating to the sunset and river estuary

landscaping to

define three distinct approaches for the three different users

of the crematorium

landscaping to

define three distinct approaches for the three different users

of the crematorium

ntrance

ntrance

landscaping to define three distinct approaches for the three different users of the crematorium

43

43


north facing elevation

ROOFSCAPE

crememonial approach to the crematorium

inhabited wall

approach via river boardwalk


INTERIOR PERSPECTIVE OF WATER COURSE

RIOR PERSPECTIVE OF WATER COURSE

INTERIOR PERSPECTIVE OF WATER COURSE

Diamgram illustrating the uses of pools and water courses within the scheme

Diamgram illustrating the uses of pools and water courses within the scheme

inclinecontinues continues intopark the incline into the

park

Diamgram illustrating the uses of pools and water courses within the scheme Diamgram illustrating the uses of pools and water courses within the scheme

incline continues into the park incline continues into the park

the building sits as part of the landscape with the assending corrior and water channel projectiong building out into the park

N

beyond the

the building sits as part of the landscape with the assending corrior and water channel projectiong building out into the park N

uilding sits as part of the landscape with the assending corrior and water channel projectiong ng out into the park

beyond the

beyond the

1:500 landscaping stratedgy

LANDSCAPING STRATEDGY 1:500

approach via river boardwalk

central cross axis’s projecting out into the landscape, through the language of the pier over the river similary the central which cross axis’s projecting into the the the language of thedictating pier overthe the central river similary waterbuilding channel carves its wayoutdown to landscape, the lower through level of building axis the of the channel which carves its way down to the lower level of the building dictating the central axis of the building

INTEGRATION OFSENSUAL WATER FOR SENSUAL REL INTEGRATION OF OF WATER SENSUAL RELIEF INTEGRATION WATERFOR FOR RELIEF central cross axis’s projecting out into the landscape, through the language of the pier over the river similary the water 29 channel which carves its way down to the lower level of the building dictating the central axis of the building

INTEGRATION OF WATER FOR SENSUAL RELIEF

20

w

29


CONCEPTUAL DRAWING: building and site work in tandem to create an emotive landscape which traces the emotional journey of ‘the mourner’


Above 1:500 model exploring the concept a tactile wall which

Above 1:500 model exploring the concept a tactile wall which

1:500 model developing the concept of a tactile wall and water channels to guides mourners through the building

guides mourners through the building and development of a

guides mourners through the building and development of a

linear processional form. Below diagramatic plans, studying the lighting strategies and void within the crematorium

linear processional form. Below diagramatic plans, studying the lighting strategies and void within the crematorium

37 lower level

ground level

void study

DEVELOPMENT WORK

37

DEVELOPMENT WORK

DIAGRAMATIC PLAN STUDIES OF DAYLIGHTING STRATEGY WITHIN THE CREMATORIUM


Echoes of a momument Background information

My proposal for the redevelopment of Can Ricart focused on the preservation of the sites industrial heritage, memorialising its unique architectural language by means of two key strategies. The first re-interprets the old factory roofs through series of small scale modular insertions situated within the existing building fabric. Here the existing walls are used to define outdoor public realms and private courtyards in which circulation and Theaccess Can Ricartto project was insertions based on the rejuvenation of a nineteenth century industrial semi abandoned ensample of textile factories located in Poblenou, Barcelona. The project the brief new takes place. explored multi scalar design strategies and aimed to re-establishing synergies and relationships with the social, productive, cultural and artistic fabrics of the area.

MyThe proposal for the redevelopment of Can Ricart preservation of the industrial heritage, memorialising its unique architectural by means of two key second strategy makes use focused of theon the inherent scale ofsites the former industrial spaces, taking a lesslanguage invasive approach these strategies. The first re-interprets the old factory roofs through series of small scale modular insertions situated within the existing building fabric. Here the existing walls are used toand define spaces are ‘re-roofed’ and ‘re-purposed’ as performance areas through manipulation of the topography forming inclines outdoor public realms and private courtyards in which circulation and access to the new insertions takes place.

plateaus to create opportunities for performances.

The second strategy makes use of the inherent scale of the former industrial spaces, taking a less invasive approach these spaces are ‘re-roofed’ and ‘re-purposed’ as performance areas through manipulation of the topography forming inclines and plateaus to create opportunities for performances. What really engaged me about the site was the density of existing walls What really engaged me about the site was the density of existing walls and the way in which they had been puncand the way in which they had been punctured and in-filled over the years in response to the buildings functions adapting, leaving traces of the various occupants that have inhabited and in-filled over the years in response toexisting the facades buildings functions adapting, traces the various occupants thetured spaces behind. My design evolved from this fascination, by echoing the forms but changing the materiality leaving i was able to developof a conversation between the ‘new’ andthat the ‘old’ . have inhabited the spaces behind. My design evolved from this fascination, by echoing the existing facades forms but

changing the materiality i was able to develop a conversation between the ‘new’ and the ‘old’.

The new insertions are crisp, sharp and light creating a stark contrast from the density and heavy texture of the existing. The ‘old’ and the ‘new’ are structurally independent and do not physically touch one another, except in a few discrete places

The new insertions are crisp, sharp and light steel frame structures that create a stark contrast from the density and heavy except

The facades of the new insertions are the key element behind the tectonic intent of my design. Their translucent quality creates a ghost effect which complimented my texture of the existing. The ‘old’ and the ‘new’ are structurally independent and do not physically touch one another, concept of memorialising the existing architecture. The insertions are located in such a way that glimpses of their roofs can be attain from anywhere on the site, the in a was fewthatdiscrete place which areintrigue articulated at draw micro level. intention these glimpses would create an which would visitors into the newly defined courtyards behind the existing facardes.

The facades of the new insertions are the key element behind the tectonic intent of my design. Their translucent quality creates a ghost effect which complimented my concept of memorialising the existing architecture. The insertions are located in such a way that glimpses of their roofs can be attain from anywhere on the site, CAN the intention that OF these glimpses RICART- was ECHOES A MONUMENT would create an intrigue which would draw visitors into the newly defined courtyards behind the existing facardes.


ARC 3013: ARCHITECTURAL TECHNOLOGY Echoes of a momument Can Ricart Barcelona Rachel Leatherbarrow 28.04.14

MACRO

IN-BETWEEN

MICRO


After studying Ildefons Cerda ‘Eixample’, i decided to imposed my own matrix over the site in accordance with existing routes and walls. This was then rationalised by using the clock tower and the chimney as visual anchors to determine where plazas should be located and which walls demolished. From this grid I began to break up the extreme horizontality of the site, by the use of ramps to and raised platforms to create opportunities for performance.

1.3 matrix rationalised by clocktower and chimmney

1.1 Site location within the city grid of Barcelona

1.4 diag. showing locartions of ramps

1.2 Diagram showing the proposed lines of access through the site in relation to the urban blocks

48neighbouring

1.5 diag. showing location of insertions

1.6 plazas defined by topography and existing walls

1.7 former internal spaces become courtyards surrounding the insertions


SCHEMATIC MASTERPLAN areas of detailed study- artists and musicians studios

areas of detailed study - performance space

1.

proposed new connections 5.

k.

3.

6. 7.

2. 8. 4.

9. 10.

17. 16. 11.

15. 14.

KEY

13.

arts programes 12.

productive programes social programes theatrical programes flexible mixed use

visual connections main access routes

1.small workshops and light industry 2.food co-op 3.cooking school 4.childrens playground 5.cafe 6.market 7.outdoor cineama 8.performance space 9. exhibition space 10. artists and musicians studios 11.outdoor studios 12.hangar extension 13. textiles school/ museum. 14.costume production 15. outdoor theatrical space 16. theatrical organisation 17.outdoor stage

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My strategy of ‘ghost-like’ insertions and covered performance spaces was something that i proposed across the site as a whole. The Can Ricart site is offset from the Cerda uniform grid of Barcelona with many of its walls blocking natural access routes forcing users to meander around the buildings. In the master-plan I wanted to play off this notion of weaving through the site, thus choosing to keep and restore key walls, which now define thresholds to the courtyards and plazas i have proposed. By superimposing the matrix developed during site analysis openings were also cut through the existing buildings creating visual connections to the clock tower and chimney which allow people to orientate themselves around the site. At 1:500 (model scale) the tectonic intent behind my design is clear; The forms of the insertions are displayed along with their relationship to the existing walls and exterior spaces. Additionally the relationship of roof pitches can also be observed, with the new insertions just rising above the walls. The model’s materially highlights the contrast between the existing heavy construction and the light, modern and almost clinical insertions shown in a translucent material. The black indicates where existing facades have been cut through to maintain veiws and create public realms. Brown indicates the my second strategy of light intervention- re-instating the old roof structure over performances spaces.

50

Manipulation of topography

breaking up horizontailty to define public realms


1:500 SITE MODEL

pitched roof tranlsucent roofs rising above the exisitng

enclosed courtyards utiliising exisiting walls

51 cut throughs to allow visual connections to the chimney


1: 200 FINAL MODEL 1: 200 FINAL MODEL

The central factory buildingfactory features both features strategies The central building bothof inserstrategies of insertions, and re-roofed performance The space. movementThe of movement of tions, and re-roofed space. performance pedestrians around the site was the crucial my crucial design tothinking pedestrians around site towas my design thinking at this scale, atasthis the scale, building heart of as isthesituated buildingin isthesituated in my the heart of my scheme there scheme will be there high levels pedestrian footfall. As a footfall. As a will beofhigh levels of pedestrian result the insertions are insertions raised offare the raised groundoffonthecolumns. result the ground on columns. The insertionsThe themselves as self-contained rooms with rooms with insertionsactthemselves act as self-contained circulation taking place outside, in doing so they interact circulation taking place outside, in doing so with they interact with the public yetthe stillpublic retainyet a level of privacy, as they still retain a levelimportant of privacy, important as they will be used will as studio space. be used as studio space. In the large performance a series of steel por- of steel porIn the large space performance space a series tal frames support a uniform pitch roof. Glazed skylights tal frames support a uniform pitch roof. Glazed skylights run horizontally illuminate the existing walls to creating runtohorizontally to illuminate the existing wallsa to creating a dramatic backdrop for backdrop performances. Taking precedent fromprecedent from dramatic for performances. Taking Herzog and De Meuron’s Turbine hall atTurbine Tate Modern the Modern the Herzog and De Meuron’s hall at Tate topography in topography this space inslopes downwards create a sunkthis space slopesto downwards to create a sunken stage. en stage.

52

52


insertions raised off the ground by columns

external circulation cores to move between the levels of the insertions

elevated walkway

suspended walkway around performance area

skylight

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1:200 SECTION THROUGH SCULTPURE COURTYARD, GALLERY AND THEATREICAL PERFORMANCE SPACE


ATMOSPHERIC OF PERFORMANCE SPACE 56


The elevation on the right illustrates how the insertion sits in relation to the existing wall. The intention with regard to the openings and there scale is clear, as the pitched roof rises above the existing to be visible from around the site. Additionally glazing aligns with openings within the masonry to allow for more extensive views from within the spaces.

N. Facing Elevation of insertion scale 1:200

INTERIOR OF INSERTIONS POD OPENIING OUT ONTO THE COMMUNAL ROOF TERRACE

INTERIOR OF INSERTIONS POD OPENIING OUT ONTO THE COMMUNAL ROOF TERRACE

57


EXPLODED AXO SHOWING THE STRUCTURAL BUIILD-UP OF THE INTERVENTION


11

12

10 key junction showing how the new roof echoing the original rests over the existing wall, with the walkway allowing spectators to view down into the performance space

8

below.

9 4

Roof Detail 1 2 3 4 5 6 7 8 9 10 11 12

1. 6 2 7

roof light steel I beam concrete ring beam arch cable fastening existing wall aluminium gutter leadwall covering rigid insulation purlins 18mm ply roof membrane aluminium standing seam profiled metal decking

5

3

Walkway detail

5

1

3

1 2 3 4 5

glass ballustrade arch cable fastening Floor decking secondary steel beam bolted steel portal frame

2 4

2iv. 2 iii. 2

2 ii. 2 i. Floor detail

6

7 5

1 3

4

1 2 2 2 2 2 3 4 5 6 7

exisiting wall and foundation steel portal frame rigid moment resisting base i. anchor plates ii. location tube iii. 50mm bedding space iv base plate concrete foundation hardcore base sandbinging layer cast contrete floor DPM

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KEY JUNCTION scale 1:50


SITE MODEL scale 1: 1000 exploring anchors and nodes within the site considering the various approaches of different users

The development strategy for the site focuses on revealing the layers of industrial history present at Can Ricart. Using its two most significant structures as anchors to draw people through a series site specific courtyards, by maintaining the visual connections throughout the site by intentional framing.

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1:200 MODEL exploring how

a series of lightweight insertions will sit within the existing building fabric

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The brief for the Ecologies project was to create a temporary structure for the British Science Fair to be held in Newcastle. The aim of the structure was to encourage people to get in touch with nature, and to learn about the rich diversity that is present in the local wildlife corridor of Jesmond Dene. The concept behind our group scheme was to create a semi-permanent shelter, in which teaching and research might be carried out during the science fair. After the fair, part of the structure would be re-located, with the remaining built form gradually becoming one with the surrounding ecosystem. The scheme provides a dynamic route down to what would become a man-made pond; this route would remain after the fair to allow people to continue to use the area, taking visitors on a journey from the highest branches of the tree canopy, to its lowiest roots, with the oppoortunity to pause and closely observe the ecology along the way The main feature of the design was the ‘vertical ecosystem’ which also served as a circulation tower connecting the two levels of the site. The cladding system which shelter the tower is comprised of a number of inhabited panels which allow birds to nest, attract butterflies and provide a habit for insects.

ECOLOGIES


We purpose a design which takes the occupant on a journey from the edge of the pond up through the tree foliage to the canopy. At various stages the veiwer can observe and interact with the varying ecologies along the trail. A series of wallls make up the Insect Hotel, a classic take on the structure of an urban hotel. Constructed out of 0.8m by 0.8m panels of birch plywood with voids cut which will be loosely stuffed with recycled waste materials and deadfall for various bugs to make their way into. The sides of the hotel are accessible for butterflies and moths, and the top is suitable for absorbing rain water through planting. Living wall tiles These modular tiles will be clad onto the towers facade, supporting a number of moss species, adding to the biodiversity of the area and framing interesting views through the journey up into the canopy

SiTE PLAn SCALE 1:100 UPPEr LEvEL PLAn 1:400

SECTiOn 1:200

LOwEr LEvEL PLAn 1:400

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DISASSEMBLY DIAGRAMS showing the integration with the surrounding ecosystem over time DISASSEMBLY DIAGRAMS showing the integration with the surrounding ecosystem over time

FESTIVAL PODS

PODS RE-LOCATED, VEIWING PLATFORMS REMAIN

TOWER IS

INTERAGTED INTO THE PARKS NETWEORK OF WALKWAYS AS A DYNAMIC INTERACTIVE SCULPTURE

68 ground level approach via temporary habitat walls

theshold to vertical ecosystem

tree canopy pod

elevated walkway to park


The cladding on the stair tower serves as a vertical ecosystem, providing habits and food for a varitety of local wildlife

Gaps between the pannels at different heights frame points of interest around the site, with the cladding becoming increasingly sporadic as you journey up into the tree canopy, allowing panoric veiws across the park

the dark sheltered stairwells provide an ideal habitat for bat boxes and bird houses

69 DIAGRAMATIC ELEVATION & SECTIONAL STUDIES DIAGRAMATIC ELEVATION & SECTIONAL STUDIES


APPrOACH TO THE HABiTAT TrAiL

70


PRIMARY STRUCTURE

SECONDARY STRUCTURE

qUAdTErnAry STrUCTUrE

TERTIARY STRUCTURE

FOUNDATION TO TEMPORARY BUILDING DETAIL

LIVING & HABITAT WALL DETAIL

CLADDING

STAIR AND RAISED WALKWAY DETAIL

71 STrUCTUrAL BUiLd UP


FINAL MODELS

72

FINAL MODELS


FINAL MODELS

FINAL MODELS

73


TRACE DEVELOPMENT


EXTRACTS FROM SKETCHBOOK

44 SKETCHBOOK


: precedent research and brief development

45 : precedent research and brief development


THANK YOU


Profile for Rachel Leatherbarrow

Part 1 Design porfolio BA (hons) Architecture  

Part 1 Design porfolio BA (hons) Architecture  

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