Unit 3 By Malika-Zaynah Grant
The Story Behind the Idea
With every ACTION there’s a always a REACTION
I’ve come to understand that architecture is something which is constantly changing and reacting to its surroundings.
It’s reported that Newham in east London is the most deprived borough in England, followed by Hackney. Westminster comes fourth. Knowing this, I think that it would be best to have the building situated somewhere around these areas. It has to be easily accessible for maximum use.
I have to design a building, and like architecture, I want it to be something which is a reaction to what’s happening now. I feel like I can get more involved, and in that way the final solution has more depth and meaning. For me, the youth crime and the London riots have been the most talked about news today. The government is thinking about long term schemes to minimise this problem and influence youths to stop choosing the wrong path, leading to negativity and violence. This building will be a symbol of positivity and will be funded by the government, where the facilities will be free. Even though this building will be built for the youths, I want it to cater for people of all ages, to eliminate the feeling of segregation.
Solution: Music - This is something which can be used to bring about both positivity and negativity, but in my case it will be used to benefit society. Music has the capability to bring people together, by influencing their emotions. It is heavily integrated into our ever-day lives. This should be the main component within the building, where the London public can: • Learn about music • Teach music • Perform music.
London is a heavily dense city area, so large plots of land is hard to come by. To find a location for the building it would be best if I found an abandoned or unused place. In this case, I’ll be giving more back to the community by interjecting purpose and function into a place which was previously uncared for. I live in Walthamstow in east London and I think that that would be a great place to start. In the Walthamstow regeneration scheme, an empty piece of land was planned to become a building complex consisting of shops, cafes, restaurants and cinemas but it never happened. The cinema beside it is abandoned. I think these spaces will work well to function for my music orientated design. I like the fact that it’s in a busy area, on the main road so it will get a lot of publicity and will be easily accessible.
Where you can learn to socialise and support each other
Welcoming environment that is not intimidating
Integration of landscape features
Both inspirational and functional
Flexibility and adaptability
Graffiti is a form of art in which many people, both young and old, use to express how they feel at the present time. Some do it as: a political statement; to make people perceive things differently; mark their territory or even out of boredom. I want to use this within the building so that people can feel relaxed and as though they can filter out their emotions in a positive light. I want the building to reflect it’s surroundings by inputting a bit of London culture into the design. Thinking about the London Culture I don’t think music is enough. For this cause to work I need to incorporate multiple ways of expressing yourself e.g. dance, acting, art and speech.
As a starting point it makes sense to make the auditorium situated at the abandoned cinema and the music centre at the empty lot.
These are sketches of my response to the anger and rage that I’ve seen. The jagged motion of the lines represent sound waves with a lot of interference and ‘colour’.
EXPRESSING ONES SELF
Where someoneâ€™s learning, another is teaching so my research for these words are closely linked. I think the best place to start is with the education system within schools. Kingsdale, in Dulwich was well known for its misbehaving pupils and was recently renovated. Some of the techniques used could be very helpful. New headmaster Steve Morrison saw the long, thin corridors and had the idea to use inexpensive paint to draw a line down the middle, asking pupils to use them as they would with a road. Doing this, minimised the chances of confrontation within classroom transactions. He then went further by commissioning an architect Alex De Rijke, who said that on seeing the building for the first time, he noted how fine the line can be between penal, and educational systems. Kingsdale had institutional hallmarks. Each floor was identical. As was every door. To solve this problem he removed as many of the claustrophobic corridors as possible. Bright colours were being introduced and innovative windows were cut into classroom walls. Although, the major change was the conversion of the large, outdoor courtyard. It was given a roof, which generated a central hub, allowing pupils to walk on elevated platforms between lessons. The effect were positive, instilling a sense of pride within the school, which reflect in the behaviour patterns of the pupils. The headmaster highlighted the fact that the lockers that had been there for five years, had not been damaged. The stats of the pupils improved as well. This is what I want to show through in my building.
Cross section of building
Mouriz School / Atelier Nuno Lacerda Lopes
Front Elevation Side Elevation
View from above
My intention was to experiment with the jagged motion and see how it would look like as the main feature of the building. If I were to use this a main feature, I thought that the space behind the building could be used to generate interesting landscape designs, for outdoor interactions. I thought that it worked really well for the Mouriz School, but I donâ€™t think it reflects the London city atmosphere. It would act as more of a spectacle, for people to look at rather than a communal destination.
This model illustrates the process in which I wanted to break down the design into more manageable distinct spaces, where each space has its unique function.
A straight formation will allow the design as a whole to be easily understood by the user.
Private CONCEPT AS WELL AS FUNCTION The entrance hall will be densely populated, as people will be coming in out the building. I want there to be a steady transition from public to private. The more private the space is the more dividing lines will be used.
Toilets: There will be multiple around the building. Some will be private while others public as the building will be catering to different people.
Janitorial area Staff Room Guest Lounge Recording Studios Concert Hall Music workshops Cloakroom CafĂŠ Public lounge Shop Entrance Hall
Ground Floor As an alternative, I broke down the interior space, so that each part had its own function and to create some sort of direction. I thought this way people wouldnâ€™t have to walk outside to get to another space. Thereâ€™s less hassle. Music Shop
Public lounge and recreational area Reception area
A big open space on the ground floor for the public will allow people to create their own personal space.
Music workshop Staff/VIP space Recreational space/cafĂŠ and restaurant Library
I want incorporate a sense of movement within the design, even though itâ€™s a static structure.
Café Posh Café
This particular designer has created an intimate space where there’s a close relationship between the costumer and chef. The kitchen is very exposed consisting of a canopy and a set of partitions which enable a visual access from all directions. I like how you can see them at work, because it generates a subconscious sense of trust.
CAD images for potential design of cafe
I wanted to evoke the same intimate atmosphere, where the kitchen is at the heart of the space. By breaking through the wall you get a pleasant contrast, giving the costumer a choice to eat outside.
Serpentine Gallery Pavilion 2011 by Peter Zumthor 6 July 2011
Garden within the building
This is a piece of temporary architecture where the garden functions as the heart of the space, so instead of looking at the landscape, the landscape is looking at you. This would work well on ground floor. I would have it to beside the restaurant as a way to bring balance and nature to people while there eating or within the reception area as a main focal point as you walk into the building. The entrance will be full of life instead of being a blank canvas
Changing scale creates a different perspective
Conclusion I don’t feel like I’m using this space sufficiently. There’s too much space to work with and there’s a possibility that the community will feel alienated. It would make sense to have the music centre where the abandoned cinema is and the theatre in the empty lot. This will also give me more freedom for design for the theatre, which is needed.
OMA Architects have designed a building built around it’s purpose. By understanding the concept of the theatre performance they initially created three main spaces, causing its function to influence the shape of the building. Each type of the theatre is pieced together so that building flows in perfect harmony. The lobby is shared between all these spaces and the audiences gradually separate as they ascend. Although, I find it disturbing how the proscenium playhouse juts out as though it doesn’t belong with rest of the building.
This is a multipurpose space even though it mainly consists of steps. If required it could function as an amphitheatre, a meeting point where you can converse amongst friends, or to sit down on the stairs and look out onto the Taipei city landscape. The plants soften the space adding colour and warmth amongst the cold and angular infrastructure. The escalators intrudes into the space, with a sharp angular exterior. The boldness of the colour breaks down the overall outlook, but also adds to the futuristic persona of the building. The whole idea or function is to show direction and ease of transportation. I can see this being a meeting point due to the open space and distinctive features, such as the circular patterns on the floor, creating a ‘bull's-eye effect’ where this space is the central point of the building, as well as injecting contrast. The lack of walls give visual aid. The ceiling avoids the space from feeling heavily dense with people.
The Music Centre within the confinements of the abandoned cinema
Social space Private
Taking this in to consideration, I think it would be good to show a sense of direction and organisation by separating the spaces according to their functions. This will make it easier for people to move around the building.
Utopia- CREATING AN ALTERNATIVE
Front Elevation 1
Front Elevation 2
Chosen elevation 3
Private entrance Public entrance
Outdoor walk-through separates the public and staff areas
Plan= Ground Floor
Ground Floor Public Space
Staircase leading to 2nd Floor to VIP/staff area
Reception which you can access from either side
Utopia- DEVELOPMENT THROUGH PLANS
Help Desk: Can be accesses by, both, the staff and public
Help desk for Public
I want to enhance the buildings symmetrical quality by removing the sloping roofs. The private space should be at the very front to for direct access, so itâ€™s going to be directly above the secondary entrance.
Ground Floor Theatre space
Open deck Restaurant to eat food and relax
I.T/ Study space
The private area is where the staff and VIP will be. Thereâ€™s going to be offices and workstations, lounge area, toilets and a janitorial space. The workshops are situated together to encourage dancers to work with the musicians as well as the actors.
The lobby area is the focal point of the whole building. As well as being a place to converse amongst friends its main other function is to direct the public- dissecting the ground floor into two spaces. One half being the quiet study area and the other the restaurant, for social activities. To strengthen the sense of direction, Iâ€™ve also incorporated fluid floor prints which run throughout the building, like veins. Ground Floor
Patrick Blanc integrates living organic forms with concrete structures, thus humanising them, creating an interesting division within a space. This design is useful in areas of heavily dense urban landscapes, where thereâ€™s not enough garden space. People are drawn in by the unusual and for a building to have this generates excitement.
Green Office in Meudon
Hanging Canopies, Dubai
Caixa Forum, Madrid
Floating Gardens by Anne Holtrop
Integrating a natural landscape within the main space will calm people. The hill can be a fun and direct way of reaching the theatre. People can also cut right through to the library from the restaurant and vice versa.
This particular floor pattern also functions as a piece of technology similar to a speaker emitting vibrations which will run through the body once in contact.
Defined by the twenty-six structured ribs, this interior space facilitates the needs of the general public, with intimate reading slots consisting of shelves and built in storage space.
Large amounts of people can enjoy reading a book without the intrusion of their personal space. The repetitive characteristic of the building could have originated from the way you would see the pages of a book, so everything links.
I wanted the library to be a large space which reflects the rest of the building, with its distinctive curvilinear wall. The cuts in the wall allows partial vision, so that you donâ€™t feel completely cut off but still keeps with the privacy of the space a place which priorities. The help desk is situated at the centre of the room for everyone to see, while he computers run alongside the wall.
Varying the levels gives a different perspective, adding another space where people can study. You can be sure that there wonâ€™t be an invasion of privacy here. People can book the room on the closed off ground level, to hold meetings.
First Floor/ Balcony space
Like the â€˜Vennesla library and cultural centreâ€™ by Helen & Hard, I wanted to create an intimate space within the library where you could work.
I made the restaurant an open space integrating fake grass which runs along the floor; linking it to the lobby area. I wanted it to be fake because in that way it would more hygienic. I also wanted to create a laid-back approach to make the space as inviting as possible. The private section of the restaurant has a view to the kitchen space, which enforces a sense of trust within the costumers. This will be a real grass wall with flowers growing from it, to generate a more dynamic atmosphere. The saxophone instrument inspired the design of the bar, which stretches along the length of the restaurant. The seats resemble the keys to a saxophone, where the bar table represents the fluid music note.
Window looking into the kitchen
Chalk board so allowing the public to be free to express themselves
Chairs, sofas and tables for people to relax and have a smoothie
The toilets are situated in close proximity to the performance area, library and restaurant.
Basic Layouts for Theatre Black Box Theatre Arena The actor is enclosed by the audience, while the entrances to the performance area are made through the audience at the four corners of the stage.
Thrust The performer is surrounded on three sides by the audience, while the fourth side contains the scenery. Entrances to the acting area are made through the scenery upstage and through the audience at the two front corners of the stage.
A black box theatre is a large, flexible theatrical space which can be easily adapted into any theatrical form.
Berlin Philharmonic by Hans Scharoun inspired by the idea that music should be at the centre
Proscenium In this particular space the performer is on a raised platform in front of the audience. Scenery typically fills the space behind, upstage of, the actor. Entrances to the playing space are made through the scenery.
Scharoun prioritised music, both conceptually and physically. From the centre, the music would be amplified and filtered throughout the auditorium. The stage is situated at the heart of the hall surrounded by the seating area, arranged in series of offset terraces to enhance acoustic performance. The ceiling is designed in a way in which it captures and projects the sound in a rhythmic fashion.
There are lifts at either ends of the room to make it easier to reach the theatre directly from upstairs. One leads to a green room, allowing people to prepare before performance as well as controlling the technical aspect of the theatre space. Iâ€™ve designed it in a way in which it can function as a black box theatre. A large, flexible theatrical space which can be easily adapted into any theatrical form. The use of black and grey allows people to focus solely on the performance. There will be spots lights which can enhance the atmosphere created.
Reception area for staff and VIPs
The staff have easy access to the restaurant located downstairs and the workshops upstairs, via the landing.
I wanted this to be a place of tranquillity, but also a reminder as to why it was built. The design reflects the rest of the building, with the fluid musical shapes and outlines.
From the reception area, staff and VIPâ€™s can come upstairs, where they can watch TV, play games eat and converse amongst each other. Itâ€™s purely a space for recreation. You can go out on to the landing which leads you to the restaurant.
This particular space is designed in way in which the two different spaces are still connected. People are more aware of what is going on around them. The different spaces on this level are colour code, to give the user clarification of where exactly they are or need to go.
This is the janitorial room. Itâ€™s situated here for ease of access to majority of the building. I purposefully located it beside the lift so that there will be no trouble getting to the downstairs space.
I wanted these rooms to act as a blank canvas to give the public freedom to use the space and explore the various forms and ways of the performing arts. Each dance space features a mirrored wall and sofas to sit down during breaks. The acting spaces is split into a dark and light room both featuring a mirrored wall, to give range and encourage experimental use.
MUSIC SPACE LIBRARY
The glass/floor ceiling links the to different spaces adding an alternate perspective , which could influence creative thinking and forms of expressionism.
2. MAIN THEATRE- Now that Iâ€™ve designed the youth centre Iâ€™m going to move on to designing the theatre space.
I want the performance aspect to be the most exciting out of the three, because this will be a space where you will have the chance to show off your talent. In some ways it will be the front of the design, where the other spaces will be an added bonus.
Frank Gehry: Walt Disney Concert Hall
Having the concert hall function as the heart of the building would work well. I feel like one such as the Frank too formal, and therefore would be intimidating for the general public. The high ceilings and dominant organ would come across over-bearing for an average Londoner. I want people to fell as relax as possible.
I also have the idea to allow people to perform to record labels and famous artist, as well as organisations such as , SBTV, which is famous amongst youths. I want to incorporate an area where they will be able to relax and converse amongst each other. Having this will give people a sense of confidence to believe that they could go somewhere in life.
It would make sense to have something much more laid-back and subtle, such as the Johann Sebastian Bach Chamber Music Hall. It has more of a communal atmosphere, due to its simplicity and intimate connection between the performer and audience. Thereâ€™s less distractions which allows the audience to focus on the performance. The organic fluid forms will have the ability to influence a performer to become more creative with their work. Zaha Hadid has broken the rules to how a standard concert hall should look like, with an unconventional layout.
I was also browsing on a University site, the University of Salford, where they allowed their students to download their performances on YouTube. I think this is another great way for the world to see the new talent which London has to offer.
Zaha Hadid: Johann Sebastian Bach Chamber Music Hall
Amphitheatre Popstage Mezz by EEA Architects
By separating the space into different sections, I can manage it according to do the different functions. The largest space is where the amphitheatre is going to be. The section in the middle can be host to an architectural landscape design, where people can sit on benches and look at interesting designs. The two smaller areas will be host as a restaurant and music shop .
To satisfy concertsâ€™ acoustic requirements, the whole structure was built as a double dome, a shell within a shell with an empty space between them. The two shells are separated by one meter, which is enough to serve as passageway and provide sufficient sound insulation. The first inner shell is made in plywood and an insulating material and has no openings. The framework, the second shell that envelopes the first one, is a hybrid cement and steel section covered by 10cm thick layer of porous cement, also for acoustic purpose.
I definitely want to incorporate the idea of having to layers for the amphitheatre. As soon as people walk inside they can forget about the busy road outside and be transported to space of creative design and expression.
Music was my initial inspiration, and I’m intrigued by the physics behind how music is produced, and I want that to help me creatively. Sound waves are longitudinal waves produced by variations in air pressure. A vibrating source pushes molecules in air back and forth, creating areas of compression and rarefaction. When a molecule moves, it collides with the next one and makes it move too. The energy of a sound wave travels away from the source trough a series of molecule collisions parallel to the direction of the wave. Sound cannot travel through a vacuum.
Ordos Art and City Museum by MAD Architects The main thing which I like about this design is its simplicity, with its steel. The linear textures evokes a sense of raw energy. The public will definitely be drawn to a building such as this one, but at the same time there’s a risk that it could alienate teenagers, because it’s so different and unusual. With this clay model I was aiming for simplicity with its spherical shape. The indentation was meant to symbolise the starting point of a ripple effect. Although I don’t think I’ve captured that yet.
Using clay, I tried to model a wave. It could function as a shelter or feature for the roof design.
I want to replicate the ripple affect which you get with behaviour of sound waves to design the amphitheatre as a starting point, so that I can building around where the stage of the amphitheatre acts as the heart of the building.
INITIAL THEATRE IDEA
Although I like the design of the building, I donâ€™t feel like it acts as a proper functional space. The extra space around the stage could be used as open restaurant, where you can converse amongst friends., but I canâ€™t see how this would work with it being in such close proximity to the stage. The green translucent wall separating you from the outside world but also could easily be a distraction. All of theses factors would taint the performance rather than enhancing it.
Utopia: Wires and Music
Frequency and Standing waves UK Pavilion for Shanghai World Expo 2010 / Heatherwick Studio I need to convey areas of compression and refraction, similar to how sound waves travel through a medium in a more interesting way. The UK Pavilion for the Shanghai World Expo gave me the idea to illustrate this with wires.
A stationary wave is a result of constructive interference between two waves of the same amplitude travelling in opposite directions to each other. It consist of nodes which are areas of zero amplitude and antinodes which are areas of maximum amplitude. I can link this concept with idea of rarefaction and contraction and design something which shows a range of denseness from low to high with uses of wires.
The development to a spherical form causes the previous model seem extraordinary and explosive, where I feel like the music is screaming out to the viewer. For the areas of compression, the wires are closely packed together in clusters and for refraction I spaced them out.
Parti (the central concept of building): •
Radial scheme with missing spoke
I’ve created loads of energy but there’s a chance that it would come across as aggressive to the general public. I need people to feel comfortable to come in the building, rather than watch it from a distance.
Utopia: Walls, Floors and Ceilings
Stella K Showroom by Pascal Grasso Architecture
When I look at this interior space I feel as though the concept of movement conveyed within a static object is portrayed elegantly. The use of white allows your eyes to focus solely on the shifting wall feature. The way the light interacts with the wall creates a range of tones, which I really like.
DEVELOPMENT TO FINAL SOLUTION FOR THREATRE SPACE
Music Shop Toilets
From analysing the previous interior space, I wanted to incorporate a variation of amplitudes within the final design.
Side Elevations Theatre space capable of holding up to 500 people. The ceiling is sloping to allow there to be seats which vary in height for maximum visual from the audience to the stage.
Side elevation facing the restaurant
Side Elevation facing the toilets and music shop
Evaluation I started this project with a clear idea of what I wanted to do. It had to be personal to me in some way and reflect the way architecture, as a whole, reacts to real life events; that is why I chose the London riots in 2011. The anger which I saw provided me with a creative starting point, where I integrated my understanding of physics within music as the solution to the problem. By choosing abandoned sites within London, adds value to the community. In that way I’ll be helping the general public. Music heavily influenced the direction in which my work went. Although, I didn’t want it to solely focus on the aesthetic nature of the design. For this deign to be as affective as possible I wanted to create interesting ways in which I could attract people my age (teenagers) as well as everyone else into the building. I thought that allowing music to vibrate within parts of the building would be an exciting selling point to the youth centre. On a whole, I feel like I’ve met my target for the youth centre but the main theatre space could have been experimented on a bit more. If I had more time, I would have analysed on how people react within different spaces, which could have given more depth and understanding on how the different interior spaces would of functioned in a reality.