RAEVEN BRANCH PORTFOLIO

RAEVEN BRANCH ARCHITECTURE PORTFOLIO FOR DS1A & DRM KIT OF PARTS AND MICRO STUDIO @00596693

TABLE OF CONTENTS 01

KIT OF PARTS Iterations 1-5

02

AUTODESK Orthographic Drawings, Axonometric Projections and Fusion 360 Renders

03

MICRO STUDIO Introduction

04

SITE ANALYSIS Site Analysis and Site Details

05

DEVELOPMENTS Precedent Studies, Iterations and Models

06

PROJECT NAME Final Design, Model and Renders

01

KIT OF PARTS Iterations 1-5

INTRO: Whilst first examining the shapes of the 24 pieces, I noticed that I could split them into two groups- one for simple shapes and another for odd angled, unbalanced shapes.

The group with the more simple shapes reminded me of the Farnsworth House (Ludwig Mies van der Rohe)- very simplistic, straightforward, balanced, and symmetrical.

The group with what I call the 'sharper shapes' reminded me of the Shard (Renzo Piano)- very angular, asymmetric at the top where the shards meet.

CONTINUED...

Whilst making my iterations, I realised that the spaces I had created looked like a very dramatic gallery. I imagined the iterations in the middle of a forest. The person experiencing the gallery moved through and up the space. They could look out at trees through open spaces in the structure. When they made their way to the top corridors to the viewpoint at the end, it opens up to reveal the tops of the forest where they could see the vista.

ITERATIONS

ITERATION 1 I started creating my space by matching shapes that would achieve the emphasis and proportion of the Shard and the Farnsworth House.

The hierarchy of space in this structure starts with the top level which, similar to the Shard, provides the focal point.

When I made this structure, it made me feel like it was a gallery who's structure directed a way to the viewpoint at the top.

EMPHASIS The height and directional shapes of the structure emphasise the hierarchy of space and the focal point at the end of the structure.

For the next iteration, I wanted to experiment creating a more open 'top' and a less 'blocky base by rearranging the shapes.

VARIETY CONTINUANCE The straight pieces created the movement and continuous rhythm that directed the viewer through the experience.

The variety of the horizontal levels and the vertical lines make the structure asymmetric. The hierarchy of space emphasises the top level making the structure imbalanced.

These 2 principles of design work together well by making the structure more dynamic.

ITERATION 2 Continuing the theme of a gallery leading towards a final viewpoint, I made changes to the structure to make the 'top' more open and to use the more blocky pieces as side supports to. By doing this, the structure became more sturdy and more simple like the Farnsworth House.

BALANCE Even though the piece is asymmetric, the structure is more balanced and sturdy as I added more shapes to the back.

DIRECTION The structure still had the directional rhythm to it, however, I like how the first on felt more exiting because the space was closed in until the person experiencing it reached the 'viewpoint'.

PROPORTION I am going to adjust the proportion of the structure by lowering it and focusing less on making it tall, and make it more about the experience of moving through it.

ITERATION 3

With iteration 3, I focused less about the height of the structure and focused more about creating the shapes to form a balanced rhythm and direction, whilst adding in layers. To do this I used the long, narrow, rectangle shapes as side supports, but also as directional features. I imagined this structure like a gallery and so made the actual sides of the structure the guides for the viewer.

EMPHASIS The placement and rhythm of the structure lost the emphasis of the hierarchy of space. I want to use layers and height to emphasis the top space.

PROPORTION VARIETY The iteration emphasised using the shapes in a variety of ways to emphasis the hierarchy of space by making more distinct sections and layers.

The proportion and the harmony of the shape placement helps to balance the structure and make it somewhat symmetrical.

ITERATION 4

Iteration 4 was the most complicated iteration as I reintroduced emphasising the hierarchy of space.

To carry on the movement and the repetition of the other iterations, I made directional shapes and more sturdy layers. I also wanted to add back in the element of height to make this space, which I now imagine as a gallery, more dramatic and give greater emphasis on the viewpoint at the top.

UNITY The vertical asymmetry carries on the movement and the continuous unity of the pieces bring the dynamic structure together. I wanted to achieve close proximity of the layers and the angular proportions.

BALANCE The extra layer in the middle gave the structure an asymmetric balance. It added to the emphasis of the hierarchy of space by acting as a ‘lead up’ to the top layer. On previous iterations, the top layer made the structure very top heavy and unbalanced.

CONTRAST The contrast between the flats and the sharp points makes the structure feel like a dramatic gallery where the rhythm and alignment guides the viewer through the experience.

ITERATION 5

For my final iteration, I made a space that combines iterations 2, 3 and 4. I took the elements from these iterations to try and make a space that was sturdy, directional, had layers and dramatic movement to a 'viewpoint'. This iteration was less balanced, but still had the same rhythm and pattern as the other iterations.

BALANCE To make the space more balanced and light, I added the thicker rectangles and squares on each of the three layers so that there was still a gradual increase in size for each layer.

ALIGNMENT I kept the pattern of using the smaller, thinner rectangles as directional points inside the structure. I created more tunnels and separation corridors to keep the alignment and movement of the structure.

REPETITION Whilst this structure retained the hierarchy of space, with the top layer emphasised, I felt that the movement throughout the structure was too repetitive and separated the shapes from one another.

Chosen Iteration:

ITERATION 4

A perspective scene from the top layer of iteration 4

I picked iteration 4 because of the movement and the asymmetry of the structure. The unity and the placement of the pieces work together to both balance and create a hierarchy of space. I imagined this space as a gallery overlooking a viewpoint, and aI believe this structure fits its purpose and it directs the viewer through the experience using the architecture of the structure.

SKETCHES A selection of sketches from my sketch book for Kit of Part iterations.

02

AUTODESK Orthographic Drawings, Axonometric Projections and Fusion 360 Renders

AUTOCAD ORTHOGR APHIC PROJECTI ONS

Top Elevation

Scale 1:1

Side Elevation

Front Elevation

Floor Plan (B)

Floor Plan (C)

FLOOR PLAN, SECTION AND TOP VIEW Scale 1:1

Section (A)

Axonometric Projection (bifolding doors open)

AXONOMETRIC PROJECTIONS Scale 1:1

FUSION 360 Renders 1-4

USING FUSION 360 I enjoyed progressing from the physical model to the software model: it was effortless to assemble. I manipulated the lighting around the model and used renderings to easily change the model’s appearance. However, whilst I found the software easy to use, it was outdated and slow. The renderings took a long time to complete and did not always produce the rendering you were aiming to make.

FUSION 360 RENDER 1 For my first render, I chose a monochrome colour scheme. I reduced the saturation of the red and kept the rest of the colour in greyscale. I did this to understand how the simple textures and one colour could affect the space. The material I chose (concrete, steel and painted wood) did not allow any light to pass through at the sides, making the model have a closed of feeling and although red is a warm colour, the model looked cold.

FUSION 360 RENDER 2 I used split-complementary colours red, gold and green to add warmth and contrast. The green on the top layer draws the eye to the direction point of the structure. A wider range of materials (jade, mahogany and a homogeneity metal grid) adds texture.

The model looks dynamic, however, the colours make it look heavy and loose its hierarchy of space. The texture is not harmonious causing the structure to lose its rhythm and movement.

FUSION 360 RENDER 3 In render 3, I used a lighter, slightly analogous and complementary colour scheme. The brightness and texture of the oak wood made the model lighter and more natural. The shape of the glass transformed the top layer by allowing light through whilst still maintaining a barrier. The green painted wood as well as the mahogany added contrast to bring balance to certain parts of the model and also emphasizing the hierarchy of space.

FUSION 360 RENDER 4 Render 4 brought elements of the previous 3 together. A monochrome colour scheme kept a dramatic movement through the model. The texture of the steel made the model cool by allowing light to pass through into the darker areas.

Concrete and marble allowed light to bounce into the darker areas and emphasizing the rhythms and patterns of the shapes. The blue tinted glass brings a modern, clean look to the space, making it appear weightless.

03

03

MICRO STUDIO

INTRO: The brief for this project is to design a micro studio no larger than 15m2. I started my idea and design process by listing and sketching what I would need and want to be in my space.

Once I had decided on the core aspects of what I needed for my micro studio, I then thought about how its location would affect what I wanted to use the space for. This lead me to searching for a location that would be the best fit to be the site.

I then designed 6 micro studios, each with a different concept, based how I would use this space, what I needed the space for, and where the site would be located.

Needs: ● A separate space to socialise and and separate space for myself ● Convenient access ● A space close to nature, away from city life Wants: ● A space for my hobbies: ○ Climbing, hiking, star gazing, drawing, reading, swimming ● A space that moves and changes, a space that adapts to ADHD ● A space to be comfortable and a space to relax

04

SITE ANALYSIS Site Analysis and Documentation

SITE LOCATION RIVINGTON PIKE RESERVOIR SITE LOCATION

Map showing site location in relation to Manchester.

Site located in the countryside nearby a major town. Site features natural beauty away from the noise and distractions of city life; making it ideal for micro studio.

Location:

Rivington Pike Reservoir, North Manchester

SITE ACCESS, WEATHER, LIGHT POLLUT

SITE ACCESS MAP Site Reservoir, river and ponds Woodland Footpath Path Main Road Access Road

SUN PATH AND WIND DIRECTION MAP Summer Sun Path Summer Solstice 21/06/2021 Winter Sun Path Winter Solstice 21/12/2021

ION AND FLOOD MAPS FLOOD MAP Possible flood spots highlighted in grey.

Site is not at risk of flooding.

The reservoir has not floods 1m past the banks of the reservoir over the last 10 years.

LIGHT POLLUTION MAP Light sources (from surrounding residential area, school, church and farms.

Site located in a Class 3 light pollution area. Ideal for stargazing.

Reservoir (west of the site) is in Class 4 light pollution area. Increase in light pollution.

SITE IN GREATER DETAIL SCALE 1:500

Typography contours every 2 metres.

Type of trees around my site. Possibly included in design development.

Different designs are based on different trees that can be used in different iterations. The trees will inform development in elevation and context.

SITE PLACEMENT

A watercolour sketch drawn at the site location.

Whilst the exact site is determined on the chosen design of the studio, the general placement is in this area.

The trees, mainly pine with a few oak trees, are on average spaced 2.6m apart. The average pine tree circumference, taken at eye level, is 1.6m (with the largest bein 2.4m and the smallest being 0.7m.

The ground is mainly dry with a layer of pine needles. The ground is sloped at a gradient of 0.5m over a 12m distance.

05

DEVELOPMENTS Precedent Studies, Iterations and Models

PRECEDENT STUDIES

SCULPTURES DONALD JUDD

Sculptures reduced to the most simple forms.

Very simple straight angles.

and

Very open and clear about what is through and around the sculpture.

MAJAMAJA

PEKKA LITTOW HELSINKI, FINLAND

Space unfolds to reveal view and to increase floor space.

Inside is dark and only permits light through the one opening.

Very simplistic, balanced and symmetric.

4TREEHOUSE

MUSKOKA DISTRICT, ON, CANADA LUKASK KOZ

Space elevated into the treetops. Uses the tree as an anchor.

The space disguises itself within its surroundings. Does not interrupt or obstruct the scene.

Vertically aligned.

Layers provide the floor space.

EXTRA ORDINARY SUSPENDED ROOM

MONTROUGE, FRANCE EMMANUEL COMBAREL DOMINIQUE MARREC

Solution to divide a small space to increase the variety and use of the space.

The space is both integrated and separated.

The floating mezzanine extends the height of the small space upwards.

Initial sketches and drawings with a list of wants and needs for the micro studio. Design and location based from this initial list and sketch

SKETCHES A selection of initial sketches for the micro studio

Sketches for the design of micro studio formed around what the space will be be used for and how it will be used

A sketch of beams that inspired the design for microstudio models

The first 4 design ideas to be made into models

Sketches influenced by the site location. Experimenting how the surrounding environment and materials can be incorporated into the design

ITERATIONS

ITERATION 1 Scale 1:50

The model was made in scale 1:50.

The design was inspired precedent 1 (Majamaja).

The design feature a double opening on either side on the structure. The roof is extremely steep and tall. The high ceilings makes the smaller space feel more spacious.

This sketch shows the template for the structure.

EMPHASIS The emphasis for this iteration was not about creating space just to be inside. It was created to be a bridge between and inside shelter and the outdoors.

To do this, each side of the iteration can be lowered to reveal the view of the woodlands, connecting the inside to the outside.

BALANCE PROPORTION The iteration is proportioned so that the ceiling height in increased. The roof was enlarged out of proportion to create a feeling of space in a 3mx5m (scale 1:50) space.

The iteration is balanced and symmetrical when split down the middle. This was done so that the iteration blends in with the site location. If the iteration was unbalanced and more asymmetrical, it would distract from the natural beauty of the site.

Instead, making the iteration balanced brings a simplicity to the structure.

ITERATION 2 Scale 1:50

Iteration 2 was influence by precedent 1 (Donald Judd sculptures) and by the beams found in the New Adelphi building.

These sketches show how the bolts from the beams inspired different shapes and forms.

A sketch iteration 2

of

This sketch shows the parts need to make iteration 2 and how it could fit together.

Laser Cut plywood was used instead of cardboard to create and neat and accurate model.

This material was then used for the rest of the models.

ALIGNMENT The space is aligned to face southwest.

The alignment of the structure points it towards the reservoir emphasizing the outdoor space and lighting. The buildings alignment also protects the inside space from the winds coming from the west.

PROPORTION CONTINUANCE The straight pieces create movement and continuous rhythm. This directs the eye towards the view the structure is pointing towards.

Iteration is bottom heavy. The base is much thicker in comparison to the rest of the structure. The allows the base to be used as storage. This feature is important to the design as it then allows the space inside the structure to be used for a variety of different functions. When something is needed, it can be lifted out of the storage and placed back when it is not needed. This makes the structure adaptable.

ITERATION 3 Scale 1:50

Iteration 3 is a development of iteration 2.

Whilst iteration 2 was simple, it was not harmonious with the site. The horizontal alignment went against the height vertical alignment of the trees. To overcome this, iterion 3 was designed to collapse when not in use.

Sketches to design the moving pivots and the structure for the model.

The structure pivots on 3 collapsible stands.

This ensure that when the structure is not in use, it cannot be used by the public and it does not distract from the surrounding environment.

ASYMMETRY The structures is asymmetric with a flat base and a curved roof.

This allows the structure to have storage built into the floor so that the space can be adapted for use, and then allows the structure to be folded down, matching with the topography of the ground.

MOVEMENT The structure still had the directional rhythm. Similar to iteration 2, the structure is pointing towards the view, creating movement through the building outwards.

PROPORTION The proportion of the wave of the roof is made for a person to comfortably lie down on the roof.

This was made so that the microstudio can be used for stargazing.

ITERATION 4 Scale 1:50

Iteration 4 was made to be in harmony with the vertical alignment of the trees in the woodland. The 2 previous iterations went against this alignment, disrupting the flow of the surrounding environment.

To make the space adaptable, the floor itself moves up and down revealing storage, stairs, desk, table, seats and a single bed.

To increase space and to follow the natural harmony of the site, the iteration has a double height ceiling as well as a floating mezzanine, inspired by precedent 4.

By doing this, the micro studio is multi functional and adaptable.

A study of ergonomics

PROPORTION The proportion of the double height ceiling emphasizes the size of the space and the alignment of the structure in comparison to the alignment of the trees.

The steps are taken out of proportion. This is due to incorporating a more active environment. The use the structure, a person must step, climb and almost jump. This structure is used to adapt to different needs and adapts itself to ADHD by providing an active and engaging environment.

VARIETY The step move to create a table with a sunken seating area, a desk that can be raised from a seated to a standing height, and a single bed.

The other steps are used for hidden storage for different needs.

To access the mezzanine, there are blocks attached to the wall that can used as a place to hand stuff as well as a climbing wall. The mezzanine acts as a space divider, where the user can have a more private space for themselves whilst not being cut off from the rest of the room. The mezzanine then allows access to the balcony where its elevated position allows for better stargazing.

ITERATION 5 Scale 1:50

Iteration 6 incorporated the surrounding nature and materials into the design. One of the hobbies that influenced the design was climbing and stargazing.

To incorporate these hobbies, the iteration was lifted from the ground and into the trees to create a vertical tree house. The design was influenced by precedent 3.

Sketches showing how the structure could blend in with the environment by using biomimicry. For this, the shape of leaves were taken into account, however, the form of a birdhouse was chosen to maximise space.

This sketch shows the study of ergonomics and also information gathered by looking at similar platforms in the treetops from a nearby treetop adventure company.

The information gathered showed that a safe platform was no longer that 6 gout (outwards) with the maximum weight of180kg.

RHYTHM The rhythm of the angular structure makes it look dynamic whilst also camouflaging it with the trees. The rhythm emphasises the vertical alignment of the structure.

MOVEMENT To move through the space, the platform acts as an elevator. The person in the space operates this via pulleys attached to the structure. As the platform elevates through the space, different storage shelves are accessed.

PROPORTION The space is designed for only one person to comfortably use it. This space minimised the size need for the microstudio, allowing it to be lifted into the trees and have vertical alignment.

The space is minimalist and designed to be used without furniture. It is a place to meditate and do small hobbies such as sketching, reading and star gazing all of which can be done sat down with comfy pillows and blankets.

ITERATION 6 Scale 1:50

The final iteration is based off of one of the first sketches for micro studio. Space could be created by moving panels. To create this iteration, this idea of moving panels, the concept of iteration 5, and the nearby treetop adventure course (see site analysis pictures 4 and 6) were merged together.

The design wraps itself around the tree. THe person climbs through these ‘hoops’ to access the top platform.

The hoop shapes were inspired by a spider's web (top right sketch). This shape is a strong sturdy shape that allows people to have space for their feet to be able to climb through.

EMPHASIS The hoops and the platform emphasise the hierarchy of space. The hoops are the way of access to the platform where activities take place. The design of the structure incorporate 2 hobbies; climbing and stargazing.

RHYTHM AND MOVEMENT The layout of the hoops and where they are attached to the tree create a spiral rhythm and movement up the tree. This provides a new way to interact with a tree house-like structure whilst incorporating a design that inspires active participation.

The platform would be cover in a clear PVC as to not disrupt the views whilst protecting the user from the cold and rain.

The platform contains a storage space for any extra equipment.

AUTOCAD Orthographic Drawings, Axonometric Projections, Exploded Axonometric Projects and 2 Point Perspective Drawings for

Iteration 4

CAD DRAWINGS At scale 1:50 (except exploded axonometric project at scale 1:100

Axonometric Projection (Inside Steps)

Top Elevation

Floor Plan (A)

B

A

A B

Side Elevation

Front Elevation

Section (B)

Axonometric Projection (no roof and balcony

Axonometric Projection (bifolding doors open)

Axonometric Projection (bifolding doors)

Exploded Axonometric Projection (inside steps)

Axonometric Projection (bifolding doors closed)

Exploded Axonometric Projection (Scale 1:100)

2 Point Perspective

RENDERED DRAWINGS At scale 1:50 (except exploded axonometric project at scale 1:100 Iteration 4 is rendered in a dark pine on the outside and a light plywood on the inside of the structure. The dark wood blends the structure in with its surroundings, whilst the light wood on the inside increases the light inside the structure creating a visual contrast between the materials.

Top Elevation

Front Elevation

Side Elevation

Section (B)

Floor Plan

Axonometric Projections

Exploded Axonometric Projection (Scale 1:100)

Exploded Axonometric Project Inside Steps (Scale 1:50)

2 Point Perspective Scale 1:50