Page 1

teChniCaL R E P o R t


Mixed Media

) gallery

Central Saint Martins College of Art and Design BA (Hons.) Architecture: Spaces and Objects Stage 2 2013-14 Unit 6 Portfolio

r o h i t n an d h a

C o n t e n t s 2. Section Two : Main Project 2.1 - Project 2.2 - Structural Strategy 2.3 - Environmental Strategy 2.4 - Detail Resolution

3. Professional Practice 3.1 - Diagrammes 3.2 - Letter to client

site three observations The site which I have chosen is ‘site 3’. Located outside the central saint martins building in Granary Square. The site has a large space which I feel can be experimented with. At the moment the site is being developed into a ‘café’ and construction is taking place, therefore the site itself has been fenced off. During the observation of this site I found it very intriguing how much of a ‘dead space’ it was. Walking past it for a year, the site was barely walked upon or even noticed. As a result, it’s only been recently that activity has been taking place on this site. Food stalls have been running during lunchtimes and the atmosphere has dramatically changed. These images below show the various transformations from barely any activity to it being full of people.





site from various views around Kings cross 1) 2) 3) 4) 5) 6) 7)

pancras RD King’s BlVD (end) king’s BLVD (3/4) king’s BLVD (mid) king’s blvd (near) YORK WAY york way

8) goods way (right) 9) goods way (left) 10) York way (edge) 11) towpath (right) 12) king’s blvd (near) 13) hoare lea 14) granary square












- - - - - - - - - -

Mixed Media

) gallery

A structural tower representing the creative arts of CSM (an extension/ a statement). Addition spaces for degree shows. Gives CSM students the opportunity to present/showcase there work a wider audience (Public). Gives the public an opportunity to see what goes on in CSM through the works exhibited in the gallery. When not in use by the University, other artists/creative institutes can hire the spaces for hosting personal exhibitions. Outdoor steps linking the canal straight to the building. Steps also act as addition spaces to exhibit sculptures Steps also used as an outdoor auditorium space as well as a runway platform. Various heights and levels will showcase a different view of kings cross Top viewing platform-allowing viewers to see the surrounding growth of kings cross.

Casting experiment / case study

annika frye IMPROVISATION MACHINE / EXPERIMENTS #1 Annika Frye *1985, is a german designer based in Offenbach. The improvisation machine is an experimental production set up: A series of rotational moulded pieces was produced in it. The moulds were made from simple geometric patterns, the material is a special plaster that hardens within short time. It resembles ceramics. The first series of pieces compromises different items such as vases, containers and bowls. Each object is unique. Still, all objects are related to each other as all forms are based on an octagonal grid.

A two-dimensional pattern is made and then folded to create a three-dimensional cast.

The three-dimensional cast is taped together to avoid any leaks from the plaster

Plaster is poured inside the cast while the mould is being turned to get an even coating of plaster.

Once the cast is fully dry, the plastic mould is then carefully removed to showcase the final product.

Rotational mould rotation & heating Rotational Molding ( BrE moulding) involves a heated hollow mold which is filled with a charge or shot weight of material. It is then slowly rotated (usually around two perpendicular axes) causing the softened material to disperse and stick to the walls of the mold. In order to maintain even thickness throughout the part, the mold continues to rotate at all times during the heating phase and to avoid sagging or deformation also during the cooling phase.

Liquid plastic is placed in half of the mouldand then taken to the heating oven.

When the mould gets into the ovens, it starts turning in both axis. The mould is only taken out of the oven when the plastic has completely melted.

After the plastic has covered the entire mould, it is then taken to a cooling station. During this stage, the mould doesn’t stop turning.

When the plastic has cooled down completely the final product is taken out.

casting experiment

Initial experiment In this experiment, we decided to create a geometrical shape that began to emerge into a unique brick like shape. The outcome of this cast, though having an interesting shape was not successful. The smoothness that the mould had was not translated into the final outcome, thus resulting in a cast, which was rough and crumbled. The errors, which were made, lay in the mixing of the plaster as well as the way the mould was assembled (e.g.glue gun). Also, this experiment didn’t allow us to make the shape hollow from the centre therefore we had to make it a solid shape.

Creating folding surface from a piece of paper gives the resulting form a free approach.

The net is then shaped into a three-dimensional structure, which is then used to cast.

The resulting cast is filled with plaster 1/3 of its total height so that the inner surface can evenly be coated.

The cast filled with plaster is then turned continuously until all the surface is covered and is dried. Finally, the cast is revealed.

Structural : sketches/conceptual models

Concept sketch

Floating pods connected through a series of curved beams

Conceptual model – a series of wires holding up a block of plaster.

A more resolved faceted structure casted with plaster

Structural : conceptual sketches/initial sections

Conceptual sketches, illustrating a theme of floating elements

Initial conceptual section, illustrating the pods as gallery spaces.

Conceptual model, showing floating elements on supports.

Structural statement

My project is based on the initial castings we did. My final design is a series of faceted pods that are stacked vertically. The main primary support for the overall building is a central lift cased in a 400mm concrete wall shaft, which is then connected midway to the cantilevered pod. Each pod is designed uniquely; therefore the walls need to be individually casted and then assembled on sight. The material that the building will mainly be made of is ‘concrete’ and ‘steel’. The skeleton structure will be a steel frame, which will then be cladded with a series of ‘precast concrete sandwich panels’. The interior and exterior wythes of concrete are held together (through the insulation) with a connecting system. Besides their energy efficiency and aesthetic versatility, they also provide excellent noise attenuation, outstanding durability and rapid construction. Moreover, a secondary structure will be introduced, acting as the main support for the cantilevered pod. The structure will be a series of triangulated forms made of steel rods that will bring the whole building together visually as well as structurally.

Pod one

Pod two

Pod three

Pod spaces - Entrance/reception/cloakroom - Intimate gallery spaces - Large gallery spaces/toilets

- Intimate gallery spaces - Large gallery spaces/toilets

- Intimate gallery spaces - Large gallery spaces - Viewing platform/bar

final design in context / elevation






the s har d

c a n a ry wh a rf

t h e g h e rki n

london eye

c s m m i xe d media ga l l e ry

final plan in context

Final Plans - 1:500

Structural : model / sectional render

Final model casted from plaster and metal shavings. Real scale: 1:200

Rendered section, showcasing the various floor levels and heights

Structural : sketches/research: (Precast concrete)

From left to right Sunset Chapel by Bunker Arquitectura, Guerrero, Mexico RW Concrete Church by NAMELESS Architecture, Seoul Precast concrete construction examples The Herta and Amir Building� Tel Aviv Museum of Art | Preston Scott Cohen Precast concrete panels

Initial model in context, embracing the visuals of precast concrete walls

structural : facade / details

structural : sectional cuts / renders

Rendered section, showcasing the Middle pod and materiality

Rendered section, showcasing the top pod and materiality

Structural : conceptual sketches/research

Conceptual sketches, illustrating the development of structure

Conceptual sketches, illustrating the development of structure

structural model experiments

From left to right Anish Kapoor’s Arcelor Mittal Orbit Constant Nieuwenhuys MODELS Norman Foster gherkin in construction

Structural : sketches/forces

3D printed sectional model: actual scale 1:200

forces and load transfer diagram, of the primary and secondary structure





W i n te r





s umme r

W i n te r

Environmental statement As my program is a gallery, the lighting of the interiors will mainly be artificial as the works exhibited may be affected by direct sunlight. Therefore, each ‘POD’ has been carefully designed to have a series of openings/windows that allows a specific amount of light in. Firstly all the pods are transparent from the top; allowing natural light to pour in. Secondly the triangular cutout windows are specifically designed to face the East, South and West to gain as much natural lighting throughout the year and to absorb the sun’s heat energy to warm the building during the winter. Secondly, majority of the rooms will be fully enclosed with no natural lighting; therefore shading the windows will not be much of a problem. Concrete is a non-combustible material, which makes it fire-safe and able to withstand high temperatures, it also is highly durable and relatively low maintenance. Additionally, the pods will be equipped with an air handling system that will condition and circulate air as part of a heating, ventilating and air-conditioning system.

Sunli ght/ wi ndow openi ngs

Prevai li ng w i nd di rected from the South- W est


environmental: all air handling unit system

vo l u m e c o ntr o l dam p er

fi r e dam p l er

c o o l ai r o u t

ho t ai r i n

c o o l ai r o u t

ho t ai r i n

vo l u m e c o ntr o l dam p er

fi r e dam p l er

vo l u m e c o ntr o l dam p er

c o o l ai r o u t

fi r e dam p l er

hu m i d i fi er / de- hu m i d i fi er ho t ai r i n

attenuato r su p p ly ai r p l enu m

heat p u m p r efr i g er ant i n/ o u t evap o r c o nd ens er c o i l s

water i n/ o u t fr o m fu r nac e o r c hi l l er s

di scharge ai r fi lter s c entr i fu gal c i r c fan ai r hand l i ng u ni t fl ex c o nnec ti o n

r etu r n ai r fi lter s

ai r r etu r n p l enu m





quanti ty surveyor

i nsurance

bui ldi ng regul ati on i nspector

engineer sub contractor structural supplier environmental


123 Elm Ave. Treesville, ON M1N 2P3 November 23, 2008

D AT E : 2 6 t h M AY 2 0 1 4

Dear Sir/Madam,

It has come to my attention that you are interested in the structure of my practice. Currently our practice is a small firm that we are successfully on the verge of establishing, with the increase of large scaled projects that we have currently received. With myself as the leading architect, I have currently 6 other employees, working on small and large scale projects. We often manage ourselves in order to know exactly what is happening at all time through great team co-ordination and communication. The Project Manager who oversees the development of our projects is mainly concerned with the communication between ourselves, the contractor and quantity surveyor. Our senior architects are tasked with the main development of our creative strategies. Though not a full time member of our time, we do have a close and amiable relationship with our accountant, who is of course in charge of our finances. Our establishment may be small but our practice is well educated in each field and achieves the highest of standards, making sure that each project is uniquely and professionally handled. In the near future we are hoping to rapidly grow our family of architects with the addition of more specialists joining us. I do hope that I have answered your queries, and would be happy to hear from you again.

Warm regards,

Rohit Nandha, Lead Architect

r o h i t n an d h a

Technical report  

CSM // Architecture