Page 1

Sarah Beth Riley 52 Meadowcroft Avenue Catterall Preston Lancashire PR3 1ZH +447599 719475 sb.riley@hotmail.com


2000

1999

1998

1997

1996

1995

1994

1993

1992

1991

1990

West Park Primary School

Florida, USA

Menorca, Spain


2012

2011

2010

Lancaster Girls Grammar School

2009

2008

2007

2006

2005

2004

2003

2002

2001

Garstang High School Paris, France

Rome, Italy

Tunis, Tunisia

Neukirchen, Austria

Brittany, France

Paris, France

Tenerife, Spain

Denkkamer

Bratislava, Slovakia

Brussels, Belgium

Amsterdam + Rotterdam, Netherlands

Istanbul, Turkey

Valletta, Malta

Copenhagen, Denmark

The Glasgow School of Art

Page 10 Page 4

Villa Polder Bat Tower

Page 16

Page 36

MEDS

Community Regeneration Prototype

Page 24

Page 36

Page 34

Page 38

Arthouse

EASA

Full Size Build

Creative Pursuits


Bat Tower The Netherlands November 2011 - Present Municipality Design Commission, Denkkamer Architectuur & Onderzoek Design Team; Stuart Maggs, Dennis van de Rijdt, Sarah Beth Riley Designing architecture for inhabitants other than humans is a concept which is addressed by few architects worldwide. When commissioned to design a prototype bat tower Denkkamer understood the importance of extensive research and a sensitive approach. To start, the bat world in it’s entirety was explored. There are three different species of bat on site; the common pipistrelle, the serotine and the brown long-eared bat. “Top Trumps� cards were made for each of these species to analyse and compare their specific attributes. As the design is intended to be a prototype, the tower must not be site specific. Instead, we listed the qualities each site will definitely represent in order to be an optimum environment for Chiroptera. This element also determined the aesthetic qualities of the tower. The entire structure is intended to emphasise the perfect natural habitat of the bat. Thoroughly understanding the species allowed parameters of the design to be set. The dimensions of the tower, materials, colour, size and distribution of openings, detailing and orientation were all pre-determined by research. This is realised in the form of both the interior and the exterior. Conceptually, the internal environment is designed to be an amalgamation of the bats preferred living habitats; both building interiors and natural features, such as trees and caves. A variety of living environments are proposed offering differences in; roosting position, material, temperature, ventilation and humidity. These environments manifest themselves in the form of chambers created by holes in vertical timber boards. The stand alone structure evokes curiosity. With no perceivable human entrance, attention is drawn to the emergence of Chiroptera, through the textured punctures, at dusk. The static silhouette of the building exaggerates the dynamic form of the bats in flight. A truly original typology is created which evokes images of night time predators in a sculptural, poetic and identifiable way.

4

At present three Bat Towers are commissioned across the Netherlands. The first will be completed at the end of April 2012 in Sambeek. Interest has also been shown in; Germany, UK and USA.


5


Grid of vertical elements to hang from

Horizontal resting space

Open void space

Conceptual construction sketches based on the optimum habitation conditions for bats.

6

Ground Floor Moss and compost to attract insects and store waste.

Chamber 1 Winter hibernation space.

These drawings are a selection of construction drawings which have now been sent to the contractor. I created them under the supervision of Dennis van de Rijdt.


Maintenance hatch

Chamber 2 Entry warmer, summer space. Bats sleep between vertical timber boards .

Chamber 3 Summer sleeping space and warm maternity roosts.

1:100

7


Roof angled towards the South West to maximise solar gain More openings on East facing facades to avoid prevailing winds 100 x 50mm opening Optimum entry aperture for serotine and pipistrelle bats Small hatch to allow access for maintenance and observation

50 x 20mm opening Optimum entry aperture for serotine and pipistrelle bats

South West Elevation

8

South East Elevation

Bricks extruded slightly to avoid water admittance and provide texture

North East Elevation

North West Elevation


1 Zinc flashing 200mm reinforced concrete Vapour barrier Timber frame to support osb boards 2 Bespoke internal gutter design

1 2

3

18mm textured osb boards 46 x 146mm timber frame to support osb boards 15mm air gap Structural concrete blockwork 15mm air gap 300 x 25 x 110mm black brick 3 564 x 564mm inspection hatch 4 18mm plywood 46 x 146 mm wooden floor joists 18mm vertical osb 5 Moss, bat waste and gravel 100mm structural brick 50mm air gap Mortar infill 140mm structural concrete blockwork 30mm air gap 60mm styrofoam wallmate insulation 140mm structural concrete blockwork Tin flashing

Chamber 3

6 3500 x 3500 x 250mm reinforced concrete slab foundation 4

Chamber 2

Chamber 1 5

6

9


Villa Polder Penthouse Apartment October 2011- Present Penthouse Renovation Denkkamer Architectuur & Onderzoek Design Team; Dennis van de Rijdt, Sarah Beth Riley and Peter Verschuren The Villa Polder was built in the early 1990’s for a wealthy, well respected doctor and his family. It is situated near the perimeter of the small Dutch village, Gemert. The roof space is the site of this project; a penthouse apartment conversion for the head chef of a restaurant on the ground floor. I feel that I have contributed greatly to this project, especially in the early conceptual and design stages. It has been highly rewarding to see it come to fruition as this is the first time a design of mine has been realised. The original timber truss system of the roof is still intact. This provided the springboard for our conceptual design.The linear axes, created by the structural elements, coupled with the abundant natural light and beautiful views over the surrounding village encouraged the design of several ‘pieces of furniture’ which divide the space an accentuate these existing elements. There are three pieces of furniture placed within the restraints of a grid throughout the space. The volumes house specific facilities including; vertical circulation, a bathroom, a library, storage and a walk-in closet. These closed pieces divide the remaining space into the living quarters, creating oblique views through the space and outwith the apartment to the surrounding townscape. Materiality was of upmost importance. The storage piece has a built-in stair which allows access to a ‘nest’ space, overlooking the entire apartment. It is clad in multi-layered plywood giving it the visual aesthetic of a large cupboard while being warm yet robust to the touch. In contrast to this, the library space is made from translucent acrylic. As the North light shines through the window the entire box illuminates, providing diffused light in the adjacent bedrooms. A large amount of time was spent detailing these elements. It was important that pure objects were created in order to achieve a sensual aesthetic. Every installation within this deign is touchable and the materials reflect the function of the ‘furniture.’

10


11


12


13


14


15


Urban Regeneration Prototype November 2011- January 2012 Research and Exploration Project, Denkkamer Architectuur & Onderzoek Design Team; Stuart Maggs, Dennis van de Rijdt, Sarah Beth Riley, Peter Verschuren At Denkkamer the approach to design is firmly rooted in research. Often we make time to discuss architecture in a wider context and explore personal interests and ideas. Throughout the Netherlands several communities have been selected as being in need of “drastic regeneration.” As an office we decided to investigate ways to add new life to dwindling communities. The most successful option involves allowing communities to communicate more often and effectively. The aim is to attract outside attention by giving something to the current community. The design became a large scale, interactive piece of art. The facade of the building is a public notice board studded with multiple LED screens on which the community can post their; opinions, stories, advertisements, their hopes and dreams duly endorsing widespread crosscommunity integration, understanding of differences and bold discussion. The concept of communication is carried through to the interior of the building. While the facade of the building is visually loud, the interior is audibly loud. The spaces provide an optimum platform for tangible social interaction and exchange in the form of short stay pods personally dispersed, by the occupants, within a free floor plan. Private pods, with enough space to sleep and store ones personal belongings, are distributed throughout a void according to the inhabitants free choice thus creating a “campsite” atmosphere, a continuously morphing architecture inspiring social creativity. The void becomes a playground for interaction. The constantly evolving space forms communal living areas and there is a separate enclosed space containing bathroom facilities. This intense integration technique will inevitably impel conversation. 16

Denkkamer will provide each community with a loud, heeded voice.


Existing Events and Public Space

Musical/ Film Event Social Event Children’s Event Food Event Public Green Space Public Space

Activity Distribution and Proposal Placement

Transport Links and Infrastructure

Public Transport Cars Pedestrians and Bikes

As part of our research into regeneration strategies we analysed a small neighbourhood in Eindhoven as a case study. We distributed this information on the above maps thus allowing us to determine the optimum position for such an intervention and what would most benefit the community without overpowering it as merely and eye-catching, aesthetic icon. 18


The design is made up from a number of components which provide the optimum conditions for social interaction;

LED screens form the facade and display message posted by the community via email and social networking sites. This will prompt cross community discussion.

Large windows are incorporated into the facade to allow maximum natural lighting and form a relationship with the surrounding community.

The bathrooms are the only enclosed spaces within the entire proposal.

The floors are completely open plan to allow free positioning of the pods and maximum space for social interaction.

The “pods� are large pieces of furniture with build in cupboards and a desk. They are free moving and are positioned by the inhabitants creating a campsite-like atmosphere.

19


The plans describe the many possible configurations of the ever evolving, dynamic interior. They show the temporary nature of the inhabitants and programme. The sculptural, visual exterior becomes tactile and sensory on the interior allowing for personal touches by the inhabitants.

Ground Floor

Second Floor

20

1:200

Roof Terrace


First Floor

1:75

21


22

Model made and photographed by; Stuart Maggs and Sarah Beth Riley


One of the most intriguing aspects of this exploration is the interior. We tested the most successful ways of creating an open, communication boosting environment. The pods are free moving creating a “campsite� like atmosphere thus encouraging social interaction.

23


Arthouse Mount Stuart Estate, Isle of Bute, Scotland September 2010- June 2011 Bachelor Degree Project, The Glasgow School of Art Project Tutor; Ken Macrae Arthouse is a communal environment for up to seven artists to, temporarily, live and work together, sharing inspiration and techniques from a diverse range of creative backgrounds. The proposal sets up a geometric relationship with the landscape inspired by the contrast between nature, the landscaped heights of the site, and the man made objects, Mount Stuart House and the column, which reside close by. A monolithic piece, the stone wall, brings these elements together and forms the circulation through the building focusing on the view to the Scottish mainland. The building is designed to be completely off-grid. The wall acts as a thermal mass store which works with the greenhouse spaces to control the temperature of the building. Electricity is produced using a micro-hydro turbine in the nearby stream and there is a water rotation system incorporated ending in concealed reed beds. The interior is naturally ventilated and lit, as far as possible.

24


Wemyss Bay Ferry Crossing 45 Minutes Rothesay Isle of Bute Glasgow Mount Stuart Estate

26

0 10


Bring together the existing landscape conditions and reestablish the two linear axis. Circle derived from the centre fold of the existing landscaped which intersects each linear element Populate this circle with objects creating a more dynamic scheme and journey through the site

No visual end to the once important landscaped avenue Terminate and re-establish the avenue, with a protective wall

Arthouse is off grid. Use thermal mass to the north of the building and a greenhouse space to the south to maximise passive solar energy gains Use the slope to protect parts of the building and make them highly insulated Use the stream to generate electricity through a micro hydro turbine Collect rainwater on the slanted roof and maximize natural north light in the studios

The view to the mainland was recorded from 6:30am to 9pm in early October Trees provide a rough frame for the view which remains throughout the year regardless of the foliage Use the building to draw attention to this view and make it a focal point of the living spaces

Source construction materials from the island and mainland Scotland to reduce transport costs and make sure the materials are sustainable

27


1

12

3 4 6 7

5

10 8 9

2

11

28

1 Approach route passing Mount Stuart House 2 Steps down onto the circular plan layout 3 The greenhouse, threshold of the building and solar energy collection space 4 Living, kitchen and dining space with framed view of the mainland 5 Main studio space 6 Plant room 7 Glazed vertical circulation space 8 Six en-suite bedrooms 9 Resident artist’s bedroom and studio 10 External workspace 11 Contemplation pavilion and micro hydro turbine 12 Approach from the avenue 0

10


0

10

29


30

1

2

3

Site prepared and foundations excavated

Concrete strip and pad foundations are poured

Concrete slab poured and retaining wall erected

4

5

6

Block work walls erected at ground floor level

Precast concrete curved wall brought to site and first floor slab poured

Timber columns erected and fixed with steel connectors and cross bracing

7

8

9

Glue laminated timber trusses craned into place

Timber rafters added as tertiary structure and wall is clad in caithness stone

Zinc is applied to the roof and glazing is fitted. Plasterboard forms interior walls and hydro power and water supplies connected


1 alternating panels of openable vents and solar panels to heat rainwater

2 roof build-up 0.11W/m k 15mm zinc 100mm timber purlins, air gap 100mm rock wool insulation with aluminium foil, vapour resistant, layer 2 x 100mm rockwool insulation 18mm plywood 10mm render 300 x 100mm glue laminated timber primary structural beam 3 10mm polished concrete 70mm screed with under floor heating 100mm timber purlins, air gap 18mm plywood 100mm rockwool insulation 18mm plywood 10mm render 4 wall build-up 0.10 W/m k 300±50mm finished Argyllshire Slate 300±500mm rough masonry block 10mm wire mesh 100mm air gap 100mm rockwool insulation with aluminium foil layer 2 x 100mm rockwool insulation 18mm plywood 300±500mm rough masonry block 300±50mm finished Argyllshire Slate 5 adjustable timber louvres to protect against sunlight, noise and unwanted smells which fold into the floor 6 fixed glazing 2.63 W/m k 10mm toughened glass cavity + 10mm toughened glass

7 floor build-up 0.08 W/m k

0

1

10mm polished concrete 70mm screed with underfloor heating 100mm rockwool insulation with aluminium foil layer 2 x 100mm rockwool insulation 150mm in-situ concrete raft foundation vapour barrier 150mm gravel

31


32


33


Full Size Build Glasgow, Scotland January 2009 First Year Project, The Glasgow School of Art Project Tutor: Jochen Bub Design Team: Sarah Beth Riley, Magnus Tveitan, Flo Wallis, Deborah Wood, Helmi Valkola Full size build was an opportunity for first year architecture students to become familiar with the workshop environment while working as part of a group to reach a common output. The major project in Stage 1 was to design a kindergarten. As a complimentary task we were asked to design and a build a 1:1 piece of furniture for the kindergarten. We were split into groups depending on our personal interests and ambitions for the project we then preceded to create a piece which was adaptable and multifunctional. The hexagons can be taken apart and re arranged, like a large scale jigsaw puzzle, to cater for; storage, seating, display purposes and play.

34


European Architecture Student Assembly Manchester, England July 2010 EASA is an organisation run by students for students. Each year a two week workshop event, for roughly 500 architecture students, is held in a different country. I attended the 2010 workshop in Manchester as a participant. I chose the Syn.tactics workshop because group design was the main focus. We tested multiple optical illusion murals for the artists studios of Hope Mill, Manchester. We then implemented our designs. Meetings of European Design Students Istanbul, Turkey August 2011 Through participation in EASA 2010 I was asked to be the National Contact for Scotland of MEDS. MEDS follows a similar structure and concept as EASA yet it is open for students from every discipline of design. I feel that this is a necessary advantage for an architect in particular as we are expected to discuss and negotiate decisions with external consultants on a daily basis. As a participant in the “Mbox” workshop we designed a space influenced by knowledge and reading. The concept of a library, where the space became a place to hold books and other items, grew from the idea of sharing beliefs and cross-cultural education. The structure was designed using Grasshopper, a parametric design programme which I had never experienced before. It was the discovery and practice of this skill which drew me to take part in “Mbox”.

36


Creative Pursuits, 2008-2012 In my spare time I enjoy experimenting with different methods of expressing my imagination. Creativity and architecture are inextricably linked and the more practices I pursue in order to communicate my ideas the clearer I am understood. Apart from visual representations of my imagination I write, mostly theoretical and philosophical explorations, and practice craft skills such as knitting and crochet.

38


Sarah Beth Riley Portfolio  

This portfolio presents a selection of work both from my Bachelors studies at The Glasgow School of Art and a year long internship at Denkka...

Read more
Read more
Similar to
Popular now
Just for you