Architectural education
internship and placement
01
COMMUNE
NYCHA HOUSING renovation 2024
Open access CRAFT workshops 2024
07 architecturE VISUALIzATION INTERNSHIP 2023
10 OTHER WORK FINE ART, PHOTOGRAPHY, iMAGE-MAKING 2020-2023 two worlds collide
02 rETROFIT REPORTS
08 Part 1 architecture placement 2023
Art and design Print & paper
Project selected to be showcased at the RE:AL ESTATES RESTRUCTURED
The refurbishment of the Bushwick NYCHA housing project redefines urban community living by transforming isolated blocks into interconnected, inward-facing courtyard clusters. The design activates the street level with communal spaces and landscaped areas, fostering interaction and belonging among residents. The design links existing residential blocks in pairs with new additions, forming courtyards lined with curved terraces. These terraces serve as circulation routes for the apartments and communal spaces, overlooking a shared courtyard. This arrangement promotes community engagement while maintaining privacy for the residents. The building forms are kept simple to ensure cost-efficiency and consistency. This approach supports the project’s function as housing and allows for repeatable elements. While the form adapts to different site contexts, the architecture remains minimalist, acting as a backdrop for community activities.
While creating enclosed courtyards, the design maintains open visual connections and lines of sight through strategic openings. This openness preserves the site’s connection to the surrounding urban environment and ensures the housing complex remains welcoming to residents and the community. Scattered amenities are consolidated into a central shared activity space, creating a cohesive public parkland. This hub serves both residents and the local community, enhancing the site’s wider functionality and appeal. Radial lines direct movement toward this corner, reinforcing its prominence as a gathering point that strengthens the connection between the housing complex and the surrounding community.
(Health services, Sport & exercise, physical activity)
(RETaIl, co-working spaces, studio spaces)
(InteRgenerational daycare)
The aims of the amenities provides are to promote Community, Healthy & Sustainable Lifestyles, and Intergenerational Living. These are all essential in fostering a holistic environment that benefits the well-being of residents. The amenities have a focus towards longterm environmental and social sustainability. Community strengthens social ties and creates shared spaces for interaction. This in turn enables a sense of belonging and mutual support among the residents. Prioritizing healthy & sustainable lifestyles will improve overall physical and mental health of residents. This encompasses the provision of community exercise/activity spaces and shared food production allotments. The aim extends beyond the amenities to cover improved living conditions, eco-friendly designs and plentiful access to greenery. Intergenerational living encourages diverse age groups to coexist and benefit one another. From the initial research, it was noteworthy that many lived alone in the existing apartments. Providing spaces for flexible living will enable families to grow over time and to downsize later if necessary. Providing facilities catering to all ages, such as the daycare center, will help older people remain integrated, preventing feelings of isolation. The intergenerational daycare also positively contributes to the younger generation's character learning in relation to empathy and communication. Flexible and dynamic spaces will form the basis of a supportive community that evolves with residents' changing needs.
LANDSCAPING
PUBLIC FACILITIES
Playgrounds
Multi-purpose sports courts
Outdoor walking paths/trails
ENVIRONMENTAL STRATEGIES
Rainwater management
Stormwater fountain/pond
Rain gardens bioswales
Ecology & biodiversity
Wildflower planting
Courtyards/gardens/lawns
Permeable Paving & hard landscaping
General/shared:
Greenhouses & urban farming spaces
Community use (multi-purpose culture, arts & dining)
Street Level (1F):
Commercial & Retail units
Workspaces: Creative/Maker studio space, Music studios, Offices
Residential (2F and above):
Single story apartment 500-750 sqft (x1 bedroom, bathroom, kitchen/living/dining)
Single story apartment 750-1000 sqft (x2 bedroom, bathroom, kitchen/living/dining)
Single story apartment 1250-1500 sqft (x3 bedroom, bathroom, kitchen/living/dining)
Small duplex 750-1000 sqft (x3 bedroom, x2 bathroom, kitchen/living/dining, study/lounge)
Large duplex 1250-1500 sqft (x4 bedroom, bathroom, kitchen/living/dining, study/lounge)
The initial site analysis showed the existing residents were from a variety of family sizes. The variety in sizes was attributed to people remaining unmarried or because of natural down-sizing of families as children grow up and move out. The provision of various dwelling unit types and the availability of a vast range of community facilities helps to support a growing community‘s development over time. As family sizes naturally change, there could be a system in place to allow people to upsize or downsize their home without moving out of the local community, remaining in the same apartment complex.
Timber hardwood floorboarding
Plywood subfloor and adhesive
Screed with underfloor heating
Waterproof membrane
2 x Chipboard glued
5 layer CLT
Ceiling fixing (to CLT)
Suspended ceiling system (fire-retardent, acoustically insulated, timber finish)
Glulam Beam
SECTION DETAIL: EXTERNAL WALL 5
SECTION DETAIL: EXTERNAL WALL 5
SECTION DETAIL: EXTERNAL WALL 5
SECTION DETAIL: EXTERNAL WALL 5
Insulated glass door (double glazed with low-e coating and argon gas infill)
Aluminium door frame
Sill sealer
Timber door sill and deck
Timber-finish panel
Pre-cast concrete plank (hollowcore concrete)
Steel support angle (bolted to CLT)
Steel angle for wood siding support
Vapour permeable membrane
Rigid insulation
OSB
Airtight layer and waterproof membrane
Cedar cladding (vertical)
Metal flashing
Wood head jamb
Aluminium window system with insulated glazing (double glazed with low-e coating and argon gas infill)
Raised terrace system (adjustable pedestal heights, timber porcelain finish decking)
Waterproof layer and breather membrane
Pre-cast concrete plank (hollowcore concrete)
Aluminium window system with insulated glazing (double glazed with low-e coating and argon gas infill)
Timber Window sill
Sill sealer
Steel support angle
Steel angle for wood siding support
Gymsum board
Batt insulation
Exterior plywood sheathing
Vapour permeable membrane
Rigid insulation (extruded polystyrene)
OSB
Airtight layer and waterproof membrane
Cedar cladding (vertical)
SECTION DETAIL: WINDOW SILL 6
SECTION DETAIL: WINDOW SILL 6
DETAIL:
SECTION DETAIL: WINDOW SILL 6
SECTION DETAIL: BALCONY 7
SECTION DETAIL: 7
DETAIL:
Tension cable
Concrete planter edge
Planter soil
Substrate
Drainage channel
Concrete render finish
Pre-cast concrete plank (hollowcore concrete)
Concrete cap (with render finish)
Steel support beam
Shim and grout
Welded beam attachment
(tab welded to W section bottom flange)
Clevis
Adjustment/tightener for (tenson cable)
Tension cable
Town centers in the United Kingdom were once the social and retail heart of communities. Dealing with the threat of rising vacant properties, Swindon High Street was sadly rated the 5th worst out of 50 of the UK’s largest towns and cities in 2019. The project hopes to breathe new life into the local community by proposing open-access workshops dedicated to the traditional craft techniques of print and papermaking. These workshops will serve as a hub for creativity and sustainability and a symbol of future growth. Accessible to all, the building will encourage artistic exploration, learning, and skill development. The program fosters sustainability by reusing the existing basement structure and integrating an outreach program using Swindon’s waste paper for hand-crafting. The reuse of the previous building’s concrete basement promotes refurbishment as a way to reduce carbon emissions. The approach also presents the opportunity to showcase the interplay between Swindon’s past and present. Inspired by origami, the folding façade pays homage to papercraft while embodying the functions and purpose of the building. This narrative is consistent throughout the design, with structural features leaning into the idea of folding and paper’s transformative qualities. Exploring the material theme further, visitors are taken on a journey through the building as each floor represents a part of paper’s story and life cycle.
During Victorian Britain, town centers were once the social and retail heart of town communities. Today, many have faced challenges stemming from the rise of online shopping, which has resulted in changing consumer behaviors. Additional economic struggles have worsened the effect, causing major high streets to be left with many vacant buildings. Despite concerns, local councils and residents still value the experiences and localism associated with town center shopping. Town centers are crucial for sustainable urban development and growth as they bring a sense of community that contributes to overall resident well-being, social interaction, and economic activity.
Fleet Street and Bridge Street are struggling to fill many vacant shops despite being located one street away from major retail routes in Swindon. For example, Canal Walk is a popular retail destination and highly sought-after retail site. The street has significantly fewer vacant buildings. The proposed site will help to revive the intersection point where the two streets cross. This will hopefully prompt further rejuvenation within the same area, allowing the streets to evolve rather than deteriorate. PROMOTING A CIRCULAR ECONOMY
The lifespan of timber buildings is estimated to be 60 years. There is much debate about this figure, but concrete buildings will likely last longer by comparison. For concrete, the estimated lifespan is 100 years or more.39 The existing concrete basement will likely outlast the new-build timber structure. Although it is sad to consider, this is essential when planning the building’s end-of-life. Regardless of its lifetime, the building will provide creative inspiration for the local community and give the surrounding context a fresh start. In terms of social sustainability, it will be regenerative and invaluable as an addition to Swindon.
I designated a priority function for each floor within the building. Initially, the zoning was considered internally within each floor for clarity of organization. Areas of importance are extended upwards to double height within each floor’s zoning strategy. These separate floor zoning strategies are combined to create a vertical and horizontal connectivity scheme. The interconnectedness improves visibility and weaves together different specialist areas as a continuous process instead of autonomous, independent facilities.
It is partially bordered by adjacent buildings on the east and south edges, meaning this area receives the least sunlight. Surrounding buildings vary in height but do not usually surpass four stories, so overshadowing is unlikely an issue.
The surrounding area is predominantly pedestrianized, so access from Fleet and Bridge Street is likely by foot or bike. Vehicular access will be from the existing back of-house entrance towards the south, with an adjoined car park.
In the northwest, buildings and outdoor seating areas in Fleet Square overlook the site. There is potential to complete the existing square and to create a comfortable outdoor public space. On approach, the site is visible from Fleet and Bridge Street so that this street corner will be necessary for the building’s visibility. Although bordered by Queen Street in the west, the existing route provides no pleasant views of the site.
The low building height and open nature of Fleet street mean prevailing winds from the southwest will reach the site. Creating sufficient openings towards the southwest may benefit passive ventilation strategies.
The site is at the intersection between Fleet and Bridge Street. These existing streets are well-used and clearly defined. Queen Street to the west is also a popular pedestrian route leading towards the town center but is currently narrow and dark.
Views out of the building should be maximized towards the north as these spaces are most populated and used by the public. Views overlooking Fleet Square and the street corner should be maximized. Views towards the south should be minimized due to the existing car back serving as the back of the house for adjacent blocks. There is no surrounding greenery, so there is opportunity to improve the area. rearentrance (carpark)
The original building’s footprint defines the site boundary, which is used as the site boundary. Within this, the remaining basement’s location is noted, and its reuse is used as a starting point. At least a portion of the building’s program will be below street level.
Due to the busy street frontages, it made sense for community areas to be accessible from street level and for workshop spaces to be located above. Building upwards and transitioning from public to private would be necessary to provide sufficient internal floor area for the facilities.
Light is essential for craft workshops and the overall atmosphere within the building. To solve the problem of providing more light in the deepest area of the plan, an atrium could serve as a light source from above.
Without sufficient light, functions for the existing basement would be limited. Pulling the building back to leave a courtyard in part of the basement helps to improve lighting conditions so community and craft spaces can be located below street level. These areas also provide a view of the courtyard. This landscaping also adds muchneeded vegetation to the urban region—openings in this elevation aid passive ventilation.
The Fleet Street frontage is significant for drawing pedestrians in. This north façade must feel welcoming. By eroding entrances and introducing a terrace, the long stretch of three-storey façade feels less intimidating.
The façade form and atrium structure take on angular forms to create a dynamic spatial experience inside the building. Increasing the atrium height also helps with lighting and ventilation. Angles and height complement the simple massing approach for the context of this infill development.
CONCEPTS: PLAN
A central atrium floods the space with natural light to enhance connectivity and visibility.
Circular central movement encourages fluid movement between floors, tying in with themes of the circular use of paper.
CONCEPTS: section
Moving up through the building: the courtyard leads to education spaces for learning about paper and its use, above is the making of paper, and to finish is printing onto paper. The scheme immerses you in the story and life cycle of paper.
Diverse spaces across multiple levels are linked by double height areas, fostering connection and unity within the design.
An open plan entry foyer creates a transition between the interior and the external street-scape. Creating a smooth transition, the ground floor is welcoming and spacious.
The proposal introduces pockets of outdoor space in an area where the urban grain is dense and lacking in existing greenery,
Pulling back from the west site edge allows for better pedestrian engagement from Queen Street, enhancing views into and out of the site.
The origami style structure sits lightweight above the existing concrete basement. Although contrasting, they compliment each other. The building showcases the interplay between the past and present.
shared kitchen
office & administration printmaking workshop secondary workshop exhibition & gallery
garden terrace secondary workshop
The origami folding façade embodies the center’s internal workings with structural integrity by capturing the creative spirit of paper and craft. The façade draws excellent inspiration from origami by folding the building envelope in a repeated pattern. As origami is also a paper-based craft, folding shows how something two-dimensional, like paper, can be transformed from a flat surface into a visually engaging expression of form. Folding as a technique showcases the strength and versatility induced when applied to a material at various scales. Integrating form with function, the folded façade reflects the fusion of innovation, craftsmanship, and sustainability.
The panel system links directly to the structural grid. The column grid for the glulam frame structure aligns directly with the existing concrete columns within the basement. These allow loads to be efficiently transferred from upper levels down to the foundations. The diagonal beams used for the structural frame help provide structural stability while reinforcing the language of forms expressed externally with the façade. The crisscrossing beams also give spaces a strong architectural identity. The beams will help to brace the primary glulam frame structure by acting as bracing by spanning diagonally instead of horizontally or vertically. Overall, this should improve the structure’s lateral stability. The location of diagonal spanning is unique for each floor because it depends on the spaces within.
x2 prefabricated panels
Zinc Roof Seamed metal
Metal mesh screen Panel system
A zinc-seamed roof is suitable for the structure because of its durable and minimal maintenance potential. Its lightweight nature helps to minimise structural load. It is also an environmentally friendly option because it is fully recyclable and energy-efficient during production.
Mesh panels will be attached to a stainless steel frame, similar to the frame construction used for the angled panel system. The metal mesh will be recycled from local waste metal.
Fritted Glass Insulated panel & glazing system
Fibre-cement Panel Curtain wall integrated system Glass Unitised curtain wall system
Panels, dependent on location, serve as windows or as insulated panels. It is important for the envelope to read as a single folded surface from the outside so the structure varies on the interior instead. The repeated system integrates both with the metal mesh surrounding the terrace and the primary glulam frame structure.
Fibre cement panels with a concrete finish are used in conjunction with the curtain wall glazing. The concrete finish links back to the existing basement material. The composite material made from cement, cellulose and minerals so is highly sustainable.
The unitised curtain wall system ensures precision of construction and high-quality assembly.
CLT FLOOR (with finish)
PLASTERBOARD
STAINLESS STEEL FRAMEWORK
The folding system is consistent throughout the design and is based on the 5.4 x 5.4m structural frame grid. For every 5.4m distance between columns, there is two panels. This makes the panel form and structure the same across all elevations. For ease of construction, the panels will be pre-fabricated locally off-site to ensure precision and efficient material usage. The panels will be brought to site and craned onto the structural frame.
Sourcing materials locally helps to reduce transportation emissions during construction, support the regional economy and encourage community involvement.
Principles of reuse and recycling are at the heart of the proposal. The basement retrofit showcases the potential for incorporating existing structures with new-build schemes. The building’s function also serves a role within the circular economy of the craft and paper industries.
The façade design uses angled panels and fritted glass. Beyond aesthetic purposes, the prefabricated panels integrate shading strategies within their form to help manage solar gain while maximizing daylight.
diffused north light
Continuous insulation reduces fabric heat loss by minimizing thermal breaks. The constant thermal line helps the building retain heat, reducing the heating load and maintaining a constant internal temperature.
solar PV (facing south)
LED lighting with PIR sensors
Glazing used throughout the external envelope is triple-glazed and high-performance. This reduces heat loss, but low emissivity coatings paired with fritted glass help control solar gain and glare. Lower g-value glazing is used to manage solar energy transmittance for specific directions.
Mechanical Ventilation with Heat Recovery helps maintain indoor air quality. By recovering heat from the outgoing air stream, energy losses are reduced while a constant supply of clean, pre-warmed air is delivered throughout the building. Stack ventilation also boosts occupant comfort while keeping operational energy consumption down.
Higher-performance insulation is used when there is a higher risk of thermal bridging. This prevents transfer and loss of heat through conductive pathways within the building’s external envelope, making the building more energy efficient.
Airtightness minimizes unwanted air infiltration and ex-filtration via the building envelope. This decreases the risk of energy loss, draughts, and poor indoor air quality. When combined with mechanical ventilation and heat recovery (MVHR), airtightness ensures that the MVHR system can control indoor and outdoor air exchange.
The work for this project is from the Happold Foundation Project which is an annual collaborative project at the University of Bath for final-year architecture and engineering students. The primary goal of this joint-degree project is to promote integrated ways of thinking within construction and architecture. The project site was located in Swindon. The brief is to design a STEAM institute in Swindon with a focus on two subjects. The institute will be attended by 6000 students, of which 120 will have on-site accommodation. As a group, we collectively thought it was imperative that we design spaces that enhance the existing context. Therefore, our primary focus was on creating a scheme that gives back to the local community through regenerative design principles. This belief forms the foundation of our design to enhance Swindon socially, economically, and environmentally.
architecture enhance
In response to the prevailing challenges in Swindon, CRAFT has emerged as a solution to address a significant skills gap and the overemphasis on a singular industry. The town’s reliance on a specific sector has rendered it vulnerable, resulting in limited diversification of skills and industries. Recognizing this skills gap, we have designed a scheme that integrates practical skills with theoretical research to equip individuals with a versatile skill set. CRAFT’s focus on Timber Engineering and Mechanical & Electrical Engineering is intended to enrich Swindon socially, economically, and environmentally, paving the way for a new industry aligned with the town’s tradition of innovation. This initiative is poised to shape Swindon’s future and play a pivotal role in revitalizing the construction industry, particularly in pre-fabricated housing. As housing is a widespread issue both locally in Swindon and nationally across the UK, our combination of subjects will have long-term benefits for tackling this crisis. Due to the nature of group projects, I have included work I had the most significant input towards so that it is an accurate reflection of myself.
BUILDING STRUCTURE
town’s revitalizing
Providing the physical structure and building fabric of homes.
TIMBER ENGINEERING
- High quality - Environmentally and socially sustainable - Low-cost
BUILDING SERVICES
Installation and repairs for building services within homes.
MECHANICAL AND ELECTRICAL ENGINEERING
LEARNING & WORKING
Flat of 8
Flat of 12
Bedroom Module Type 1
Bedroom Module Type 2
PHASE 1: Structural cores and site prep
PHASE 2: Workshop
PHASE 3: Front of house
stages of construction
The Gantt chart pictured is an approximate indication of the time scale for each stage of construction. The overall construction process can be separated into two main phases: the initial timber workshops followed by a staged educational construction approach of each of the remaining areas of the site.
This second construction stage is predicted to take longer to enable students to study the process as part of their curriculum. An important learning stage during the educational construction is the building of the accommodation because it will act as a case study for mass timber and cross-laminated timber construction.
Planning permission and site preparation
Excavation and concrete foundation cores glulam frame construction phases 2 & 3
phase 4 Glulam frame construction phases 5 & 6 interiors and services
PHASE 4: Accommodation
PHASE 6: Remaining education block and atrium
Given the increasing awareness of climate change and environmental consciousness, educating future generations about sustainable development is crucial. CRAFT aims to be a transformative force where knowledge gained at our institution can easily transcend Swindon’s borders, benefiting external communities and contributing to sustainable practices elsewhere. Aligned with our comprehensive approach to community engagement and sustainable construction, the scheme will be executed in phases, serving as a case study to share knowledge with existing construction companies and students. The goal is to establish links with the local community as part of a regenerative design process while minimizing environmental impact. This phased construction approach reinforces CRAFT’s role as a dynamic contributor to Swindon’s evolving landscape.
Formed using wood off-cuts and sawdust from the construction process. The material performance will be studied to see whether it is a viable wood recycling product.
Workshop waste will be recycled into a variety of wood products. Examples include building materials (such as wood fiber insulation to use in our pre-fabricated facades), landscaping mulch, animal bedding, play area surfaces and panel board feedstock. Waste wood can also be used as a bio-fuel.
CRAFT is partnering with a CLT production and recycling company based in Latvia in attempts to kick start standardized CLT recycling in the UK. The warehouses East of the site are a potential location for a future CLT recycling facility if the existing Carriage works fall into disuse.
Element emission breakdown
We made a conscious effort to use low carbon materials (use of mostly timber). Concrete and steel have been used only where necessary structurally such as for the foundations. Originally, we had used concrete cores, but calculations were undertaken to see whether the same structural stability could be achieved using CLT panels. This reduced our embodied carbon significantly.
Embodied Carbon = 2118 tCO2e OR 126 kgCO2e/m2
regenerative design - potential for future development
30 years post-completion of design proposal
KEY:
20 years post-completion of design proposal
Started in 2019 by timber industry experts, ReCycled CLT (ReCLT) focuses on reducing construction and building waste by recycling cross-laminated timber (CLT) production waste into usable building elements. This helps to reduce overall CO2 impact on our environment. This technology is targeting the growing CLT market’s challenges. Uses for CLT after initial use are mostly undetermined due to CLT being a newer building material compared to traditional materials.
As part of the longterm partnership CRAFT hopes to build with ReCLT, there is potential to bring CLT recycling to the UK as part of CRAFT’s future plans. CLT is often currently sourced from Europe as opposed to within the UK. This technology will enable UK timber industries to become more sustainable by establishing solutions for both CLT material sourcing and end-of-life use. Initially CRAFT will learn from ReCLT’s help and guidance to then be able to implement CLT recycling. The current Carriage works to the East border of the institute may be a viable location for the site of a CLT recycling facility.
The parkland towards the West of the institute is currently the third year project site. This large open space has potential for further housing development using the module system developed as part of the design for CRAFT’s student accommodation. The proposed future idea is to build on the knowledge gained from the original CLT student accommodation. The follow-up housing project can be seen as an opportunity for a second case-study.
Theatre productions should reflect the communities they perform in. In turn, promoting diversity of interest and representation within the industry. This project is set in the city of Oxford which has the third highest population of ethnic minorities within the South East of England. There is also an extreme disparity in wealth in the same city which further indicates a degree of inequality which may not immediately be associated with Oxford. As a response, I chose to design an intercultural theatre which serves as a platform for narratives and stories from people of various cultural backgrounds to be shared with one another. Part of this project will be addressing this disparity, by understanding how architecture might represent and support marginalised communities. Many theatres already exist in Oxford but there is not currently a theatre which represents the multicultural demographic of Oxford.
The building simultaneously acts as a community hub with the provision of a film and theatre workshop spaces. Public access to these facilities and classes enables more opportunities for people to get involved with the film and theatre industry. This in turn encourages representation. Creating an environment which focuses on community helps to foster connections between people. The theatre will boost individuals’ sense of belonging, encouraging unity among the residents of Oxford. The workshop, public amenities and intercultural theatre are combined under one roof to become architecture that is of, and for, the people of Oxford. The site is bordered by two busy streets. The design addresses these two frontages by treating the ground floor as an extension of the external street both in the north and the south.
EXISTING façade
The stone façade of the existing south elevation will be preserved due to it being a Grade I listed building. The notional floor levels of the Georgian stone exterior are used as a guide for the internal floor heights. Existing masonry is paired with a copper roof which is inspired by vernacular architecture of Oxford which features many patinated copper roofs. The patinated copper roof stretches across the building and is met with copper standing seam cladding. The variation in copper’s aging is an expression of the existing masonry being integrated with the new-build in the north of the site.
SITE
Existing walls to be kept
room
Photography & film studio
Drama studio & Rehearsal space Media & post-production
Photography dark room
Staff & cast entrance
First FLOOR PLAN
Second FLOOR PLAN
Existing façade refurbished and has increased ground floor glazing for improved visibility, helping to draw in the public. There is also the addition of new theatre signage but the original façade’s character has been preserved.
Copper standing seam cladding is combined with a kinetic façade which is constructed from a steel frame and recycled copper tiles. The tiles move to shimmer in the wind, capturing the dynamism at the heart of the intercultural theatre. Glazing on the ground floor helps draws the public in as the foyer is an extension of the street.
The overall structural design of the scheme is environmentally conscious. The existing building façade is preserved and integrated into the design which enables the masonry to retain its embodied carbon. This decision is partially because renovation and reuse buildings can save between 50-75% of the embodied carbon emissions. The new-build comprises of a low-carbon hybrid timber structure which uses a glulam timber structural frame combined with cross-laminated timber floors and ceilings.
structure CLT second floor
LOAD-BEARING FOUNDATIONS:
EXISTING STONE MASONRY WALL & GROUND BEARING CONCRETE SLAB
CLT first floor
ground floor STRUCTURE
On the 7th June 2020, the statue of Edward Colston was removed as part of a protest in response to the Black Lives Matter Movement. Many of Bristol’s landmarks commemorate Colston’s name and the work he did for the city as a merchant trader but the fact he was also a slave trader had largely remained unaddressed. The removal of his statue marked the people of Bristol acknowledging the truth of the city’s history which was built on the wealth funded by the slave trade by individuals like Edward Colston. The event was a symbolic moment in history and marked a shift in attitudes and willingness to change. The statue plinth remains in its original place and is directly opposite a cenotaph war memorial.
The project aim was to design a multi-use event space in response to the events that took place in the Summer of 2020. I wanted to preserve positive messages of change from the protests by creating an exhibition and events center that provided a space for freedom of expression. My hope was that the building could enable education of past events but more importantly, look to the future societal growth and progression of Bristol. It should be a timeless place that symbolizes the community uniting together to heal from the past in order to have hope for the future.
The building position and orientation are aligned with the remaining statue plinth and movement down the center of the site. The site is located within a traffic island at the heart of Bristol city center. This meant minimizing disruption of pedestrian movement along the North to South axis within the site was paramount. I wanted to preserve the significance of the removal of Edward Colston’s Statue so chose to keep the original location of the remaining plinth will be kept. The central corridor guides users through the building. The original plinth is visible as people journey through the building due to the transparent glass doors.
The crystalline building form developed from the concept that crystals are associated with healing in spiritual practices. I thought this captured the central theme of reparation because the building would be a symbol of healing for Bristol’s community.
I abstracted hexagonal crystal shapes as a starting point but retained the repetitive geometry and fragmentation of form that is characteristic of crystalline structures. The basic hexagonal form is repeated with variation in size and height. This progression and growth is a metaphor for societal change. The separate hexagonal forms come together as a single structure to represent the idea of unifying a community.
I chose to use Copper as the cladding material because I believe it best represents the aims of the building. Copper naturally changes in appearance over time and a range of natural shades can be achieved by the weathering process. I thought this gradual change through time linked well with the idea of societal change and growth. Pre-aged panels of various time spans would be combined together to create a gradient of color. The cladding color can continue to change as the copper continues to weather over time. Historically copper is also known as a healing metal. The cladding style mirrors the crystalline nature of the overall design. The organic and fluid movement of the cladding around and up the walls is a continuation of the idea of representing societal growth. The Windows and glass cladding are embedded within the fluid panel design.
Functionality and transportability were the key aims throughout this project. I aimed to craft a folding shelter with the exploration of core origami principles. I wished to explore the collapsible nature of origami and its potential use for creating temporary structures that are easy to transport. There was a challenge in designing a structure which is stable during use yet can be compacted and light when folded. I created a 1:2 prototype model to trial whether the idea indeed functions in real life. The final result was successful in providing both practicality in its deployed state and compressible for convenience during transportation or storage. In future, I hope to revisit this idea and produce the structure at 1:1.
The intriguing project was set to encourage the exploration of skills and ideas. My response to the in-house brief was to look deeper at the intersection between architecture, storytelling and our evolving digital world. I aimed to go beyond portraying a physical environment but to create and capture the essence of a conceptual space. This posed an opportunity to break away from traditional and more literal modes of architectural image-making.
No longer limited by real-world constraints, I was able to craft an alternate dimension. Sources of inspiration were real-world objects such as Tom Dixon’s Melt pendant lamp but also virtual creations like Andrés Reisinger’s Virtual NFT (non-fungible token) chair. This combination led to the creation of an otherworldly dream-like atmosphere. Upon reflection, I recognize this project helped re-frame how I view storytelling in the context of architecture as I elevated spatial design beyond the scope of tangible structures. This meant that the emotions and thoughts evoked by the abstract space were crucial at the project’s core. My overall idea was prompted by the reflection on the convergence of our digital and physical worlds. As a representation of two worlds converging, my project hints at the growth of virtual realities and the knock-on effects this may have on our future. I am fascinated by how this potential shift unfolds and what this transformation will mean. Will our relationship with physical spaces be redefined? What does this mean for architecture?
My role as a Part I Architectural Assistant at RAFT involved supporting tasks across various retrofit projects. These projects mostly ranged from RIBA (Royal Institute of British Architects) stages 0-3 and enabled me to form a well-rounded understanding of approaches to retrofit. I was introduced to PHPP (Passive House Planning Package) software and learned how evidence-based data analysis can be a tool when making design decisions as well as recommendations. I enjoyed seeing how sustainable approaches within architecture have real potential to improve our health while also reducing energy costs.
Although I worked on various projects for the deep-retrofit of schools, I was fortunate to be a part of the SBDE-14 project. The project involved producing heat decarbonisation plans, airtightness reports and thermography reports for 14 schools within the London Borough of Southwark. I was tasked with creating architectural diagrams and data-related graphics for reports across 3 of the 14 schools. Working on various reports taught me the importance of indepth energy performance analysis when aiming for truly sustainable buildings. I also saw how each retrofit scenario is unique and there is not a universal solution to achieving zero-carbon based on building typology. These reports would be the first step for each school’s journey towards a low-carbon future. They could serve as a guide for what building measures to implement and which of these should be prioritized. I learned how the information within the reports is crucial as a tool to secure funding for the recommended measures. Retrofit contributes to reducing costs and energy usage while optimizing existing infrastructure. As an approach, retrofitting helps schools to manage their energy demands, saving money which enables schools to allocate the funds towards education. With budget constraints and cuts in education funding, removing excessive energy expenses and fostering sustainability will hopefully have benefits towards the local community beyond the school itself. Below and to the right is work from the St Saviour’s & St Olave’s School heat decarbonisation plan as an example. The school had eight blocks in total but the work and research shown here is focused on Block B only.
U-VALUE (W/m2k) BUILDING ELEMENT
1.500 1.500 0.939
Solid Walls (no action) - Plaster (25mm), solid x3 bricks (318mm)
Solid Walls (to
Walls (dormer cheeks) - Lead (3mm), ply (15mm), air and timber frame zone (80mm), lath and plaster (25mm)
Upper Wall - Plaster (25mm), solid x2 bricks (215mm)
Floor - Timber (20mm), concrete (200mm)
Floor (over basement) - Timber (20mm), concrete (200mm)
Flat Roof - Roof covering (6mm), ply/sarking boards (20m), timber zone with air between (160mm), lath and plaster (20mm)
Roof (loft level insulation for pitched roof) - Air gap with timber and insulation (160mm), timber (15mm), lath and plaster (25mm)
U-VALUE (W/m2k) BUILDING ELEMENT
Mansard roof - Slates on battens and counter battens, timber sarking (20mm), timber rafter zone with air between (160mm), plaster (20mm) Pitched roof (measure re-roof from above) - Slates on battens and counter battens, timber sarking (20mm), timber rafter zone with air between (160mm), plaster (20mm)
U-VALUE (W/m2k) BUILDING ELEMENT
Pitched roof (measure along pitch) - Slates on battens and counter battens, timber sarking (20mm), timber rafter zone with air between (160mm), plaster (20mm)
Dormer roof - Roof covering (3mm), ply/sarking boards (18mm), timber zone with air between (50mm), lath and plaster (25mm), aero-gel (20mm) Single glazing Double glazing (pre-2000) Double glazing (2000-2010) Double glazing (pre-2016) 1.581 1.737 5.800 3.800 2.800 1.800
1. Rectify existing building fabric defects to make the buildings retrofit ready.
Install energy monitoring system.
Draft proof all existing double glazed windows and doors. (Ensure on going monitoring of air quality.)
Short term works reduction includes the likely reduction with the newly commissioned ASHPs
KEY:
1. Re-pointing, with time allowed for fabric to dry out.
2. Upgrade all single glazed doors and windows to triple glazed units or heritage slimline double glazed units where appropriate. 3. Upgrade roof lights.
4. Insulate pitched, mansard and flat roofs and dormers.
5. Install MVHR (Mechanical ventilation with heat recovery).
6. Install instantaneous POU (Point of use) hot water to all sinks and remove hot water distribution pipework.
7. Upgrade dormer cheeks and roofs.
8. Replace gas appliances in cookery classrooms and laboratories. 9. Upgrade to 100% LED with motion sensors. 10. Insulate pitched roof at loft level. 11. General airtightness measures. 12. Install ASHP and Solar PVs.
Decommission gas boilers.
long TERM RETROFIT WORKS
1. Triple glazed windows to replace double glazed windows when windows are at end of life.
2. Externally insulate the solid wall to the courtyard. Insulate the pitched roof above the rafters if and when the roof requires replacement.
In addition to the measures listed, the school could apply internal wall insulation which, although disruptive, could further reduce the space heating demand to 29kWh/m2a, and the heat load to 30W/m2 (based on 40mm insulation applied to all uninsulated solid walls). However, this would only be appropriate if moisture issues were resolved first.
The graph on the left illustrates the school’s total annual carbon emissions, and how these will be reduced year on year from 2023-2030. In the short term the school may see a slight increase in its energy bills due to electrification of services but will see it reduce significantly once the building fabric is upgraded and ASHPs (air source heat pumps) are introduced.
Annual running costs are calculated based on an average unit price of 10.7p/kWh for Gas and 30.2 p/kWh for Electricity. No standing charges are taken into account.
Newpool Farm is a disused area of agricultural land which a commercial land owner is looking to transform into a local tourism destination. This would involve the conversion of the existing long barn to the north-west of the site into two short-stay holiday lets, the demolition of existing dilapidated barns to allow for the provision of a single-story reception building with storage facilities, and the provision of 8 glamping cabins surrounding the ponds to the north east. The client was mindful from the beginning of the project to engage and take advice from a diverse consultant team to ensure that the proposals for the site would be viable and with a strong business case, but also sympathetic to the ecologically and environmentally sensitive site.
The majority of my time on placement was focused on work for the Newpool Farm project. I assisted in the design for the glamping cabins, two holiday let barn conversion homes and two car ports to go with each holiday home. This design process initially involved producing hand-drawn notional sketches before progressing onto digital technical drawings. Using a similar design process, I helped finalize the glamping cabin locations and the site’s board-walk connectivity strategy. My role within the scheme’s overall branding and marketing was to research possible branding options for the project as a whole as well as to create indicative visuals. The goal of the visuals was to help achieve successful planning application and to sell the designs as a viable tourism experience. This project’s planning application has since been approved.
fine art (PAINTING)
Oil paint on MDF Board Exploring identity and the experience of growing up between two cultures.
CONCEPTUAL DESIGN
Inspired by a water kettle, I reimagined the traditional form and function of the original object to create a new narrative. The resulting design is an abstraction of form which creates dynamic compositions from all different angles. The object’s identity looks at the relationship between water and metal, the utility focuses on material conversion while maintaining the kettle’s original essence.
water undergoes so molecules loosen each rotate equipment molecules collect new water has addition of compression
of water into compression chamber
undergoes extreme compression molecules are packed tightly to each molecule’s electrons
equipment while water start to lose their shape
new material produced after reached metallic state
