Stage 3 Portfolio- Adel Kameshki

A D E L

K A M E S H K I

S TA G E 3 B . A . A R C H I T E C T U R E 2

0

1

4

-

2

0

1

5

P O R T F O L I O

“Historic preservation clearly does much more than preserve bricks and mortar. It recognizes that our built history connects us in tangible ways with our past and provides context for the places we occupy and the world we live in. It fuses art with craftsmanship, capacity for modern utility with embodied energy, and progressive ideas for economic revitalization with traditional authenticity. Historic preservation is at the same time wonderfully egalitarian; all socioeconomic classes in every corner of the nation have successfully utilized its principles to protect their heritage and revitalize their communities.

-Craig Potts, Executive Director of the Kentucky Heritage Council and State Historic Preservation Officer�

١

Graduation Project- Building on What is Already Built: ANIMATE | ILLUMINATE. . . . . . . . . . . . 5-49

٢

Tech Week: Thinking through Making. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51-55

٣

Market Stall: THE MODULE x Survey. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57-91

٤

Charrette Week: A Machine for Living. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92-93

N O N -

D E S I G N

M O D U L E S

٥

ARC3013: Architectural Technology Coursework. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95-99

٦

ARC3014: Professional Practice and Management Coursework. . . . . . . . . . . . . . . . . . . . . 101-110

٧

ARC3015: Principles and Theories of Architecture Coursework Pages. . . . . . . . . . . . . . . . 111-114

٨

ARC3060: Dissertation in Architectural Studies. . . . . . . . . . . . . . . . . . . . . . . . Separate Document

...............................CONTENTS.................................

* refers to added or modified work for the portfolio

ŮĄ

Graduation Project- Building on What is Already Built: ANIMATE | ILLUMINATE

Contextual Photographic Study (added work)*.......................................................6-7

Ground Floor Plan; Final Crit Standard............................................................... 28

Ground Floor Plan; Portfolio Standard* ...............................................................29

Internal Perspectives (added work)* ...............................................................34-35

External Perspectives: Nun Street (added work)* ...................................................37

External Perspectives: Nelson Street (added work)* ............................................... 38

External Perspectives: Grainger Street (added work)*

S e l e c t e d P l a n t s f o r G r e e n Wa l l ( a d d e d w o r k ) * . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1

Te c h n i c a l D e t a i l s : G l a s s E x t e n s i o n s ; F i n a l C r i t S t a n d a r d . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 2 - 4 3

T e c h n i c a l D e t a i l s : G l a s s E x t e n s i o n s ; P o r t f o l i o S t a n d a r d * . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 4 - 4 7

٢

Market Stall: THE MODULE x Survey

Axonometric Drawings; Final Crit Standard

..................................61(smaller drawings)

Axonometric Drawings; Portfolio Standard*

..................................61 (larger drawings)

Plans; Final Crit Standard

.................................................63(upper portion of page)

Plans; Portfolio Standard*

.................................................63(lower portion of page)

Sections; Final Crit Standard ...................................................................... 64-65

Sections; Portfolio Standard*

Perspectives of Aggregation of Stalls in Proposed Site; Final Crit Standard............ 69 (left)

Perspectives of Aggregation of Stalls in Proposed Site; Portfolio Standard*......... 69 (right)

Proposed Aggregation Plans in 1:100 Model Form; Final Crit Standard.........................70

Proposed Aggregation Plans in 1:100 Model Form; Portfolio Standard(added work)*... 70-71

Proposed Aggregation Close-ups; Final Crit Standard...............................................72

Proposed Aggregation Close-ups; Portfolio Standard(added work)*

............................................39

......................................................................66-67

TA B L E O F M O D I F E D A N D A D D E D W O R K

............................72

Born and raised in the Kingdom of Bahrain, I’ve grown up surrounnded by “Manhattanized” architecture that would replace the traditional and now endagered traditional architecture of my home countr y.

As a child, my mother would take me around the old cities of Bahrain and show me the remnants of tradtional houses and buildings. As a result, traditional architecture has developed a special place in my heart.

My interests lie in the conser vation, renewal, reuse, maintenance, and retrofitting of old buildings whilst maintaining their identity. It is for this ver y same reason that I’ve chosen “Building on What is Already Built” as my graduation project. I hope to implement the lessons I’ve learned from this graduation studio into my career as an architect and educator, in hopes of bringing change and revivng our forgotten architecture.

This portfolio marks a new chapter in my life: one that marks the begining of advocating the restoration, renewal, and retrofitting of tradtional architecture and culture in my work.

Though the work in the portfolio does not show my cultural identity, I have made sure that my design work (semester 2 specifically) does not take away from the building’s identity, but add to it.

ABOUT ME

ูก

G R A D U A T I O N

P R O J E C T

B U I L D I N G

O N

A L R E A D Y

A

T

N

I

M

A

E

W H A T |

I

I S L

L

U

M

I

N

B U I L T A

T

E

This project involved designing an intervention to the existing Grainger Market located in the heart of the City Center: Grainger Town. The overall aim was to renew or make a change to the market as well as add an additional 1/3 of the volume. This project proposes effective yet sensitive changes to all four elevations of the market as well as the roofs of all the alleyways. These changes are emphasized in order to resolve some of the existing issues in the Grainger Market in order to create a building that is more animate and well-illuminated. Key themes in this design are: inside-outside connections, visual connectivity, circulation, conserving the essential, and light.

5

*

‫ج‬

‫ث‬

E L S O

S T R E E T

N

N

S T R E E T

C L AY T O

S T R E E T

N

‫ح‬

U N ‫أ‬

S T R E E T

Direct competition + Key elements of townscape.

6

G

N

R A I N

G

‫ب‬

E R

‫ت‬

Key elements of townscape.

Site.

Quieter sides of market.

*

G R A D P R O J E C T: S I T E O B S E R VAT I O N S - C O N T E X T U A L P H O T O G R A P H I C S T U D Y

*

‫أ‬

‫ب‬

‫ت‬

‫ث‬

‫ج‬

‫ح‬

G R A D P R O J E C T: S I T E O B S E R VAT I O N S - C O N T E X T U A L P H O T O G R A P H I C S T U D Y

*

7

C O N F U S E D

E N T R A N C E S

The Grainger Market’s four façades have gone though a multitude of changes and retrofitting. Some of the original entrances were converted to shops, whilst some shops were conver ted to entrances. This has lead to a lack of ar ticulation in the entrances, making them blend in completely with the rest of the façades.

S T A T I C

E L E V A T I O N S

With the majority of all four elevations being solid blockwork, the shell of the Grainger Market becomes somewhat monolithic and lifeless; hardly any activity is seen through this outer sur face or shell, making it static.

LACK OF INSIDE-OUTSIDE CONNECTIONS This relates back to the static elevations, because all four of them are static, there is a lack of insde-outside connections between the surrounding streets and the Grainger Market.

Additionally, the shopfronts in the market’s shell do not link physically nor visually to the core of the Grainger Market, this creates a sense of undesirable isolation.

I N A D E Q U A T E

D A Y L I G H T

Although there are roof lights in the alleyways of the Grainger Market, the light that does enter the four alleyways (with the exception of the Grainger Arcade) is inadequate. This is proven through the use of artificial lighting in broad daylight hours. The four alleyways as a result, have a sense of undesirable enclosure.

8

G R A D P R O J E C T: E X I S T I N G I S S U E S

R E B I R T H : A

F I G H T I N G

C H A N C E

The Grainger Market is surrounded by competition on every side that offers products that the market may not have. The rear-flanking Eldon Square on its own hosts a multitude of highly competitive and compelling mainstream s h o p s a n d e s t a b l i s h m e n t s t h a t d r a w i n u s e r s . A d d i t i o n a l l y , t h e n e a r b y Te s c o offers the same or larger selection of goods that the Grainger Market has to o f f e r a s w e l l a s b e i n g o p e n f o r l o n g e r . B o t h Te s c o a n d E l d o n S q u a r e h a v e adequate illumination, which makes them more appealing. Also, a sense of visual connection and inside-outside relationships is strong within both of t h e m . L a s t l y, a l l e n t r a n c e s t o E l d o n S q u a r e a r e a r t i c u l a t e d a n d c l e a r, c r e a t i n g a strong presence for the giant shopping mall.

“If you can’t beat them, join them.� -Jim Henson

W i t h t h e G r a i n g e r M a r k e t s t r u g g l i n g t o c o m p e t e w i t h E l d o n S q u a r e a n d Te s c o , it is essential for it to be transformed and reborn into an enitity that is both d i f f e r e n t , y e t s i m i l a r. B y t a k i n g t h e s t r o n g p o i n t s o f t h e c o m p e t i t i o r s h i g h l i g h t e d i n r e d , t h e G r a i n g e r M a r k e t m a y h a v e a f i g h t i n g c h a n c e t o c o m p e t e w i t h Te s c o and Eldon Square and once again be the central shopping hub of the City C e n t e r, w h i l s t s t i l l r e t a i n i n g i t s m a r k e t - l i k e n a t u r e .

G R A D P R O J E C T: D E S I G N P U R P O S E

9

‫ب‬

‫أ‬

A

I

N

L

L

I

U

M

M

A

I

N

T

A

E

T

E

‫ت‬

‫ أ‬ By adding glass extensions to the entrances of the Grainger Market, the entrances become articulated and spaces within the extensions allow for visible activity on the façade, making it far less static. ‫ ب‬ Revolving light-transmitting doors replace the shopfronts of the Grainger Market, to allow for spaces that are more interactive and animate.

By doing so, shops can overflow onto the streets and to the Grainger Market’s core and act as linking spaces between the two to create a muchneeded inside-outside connection. The use of Light-transmitting concrete allows for silhouettes to be seen on the façade, creating an artistic sense of animation. ‫ ت‬ Glazing from the extension wraps around the Grainger Market’s shell and cascades vertically till it reaches the roof level of the market’s core, where it replaces the roof of every alleyway with the exception of the arcade in order to allow for greater daylight access.

10

G R A D P R O J E C T: I N T E R V E N T I O N A L R E S P O N S E

*

‫ث‬

‫ج‬

‫ح‬

‫خ‬

At the four corners of the market shell are fire exit stairs and lifts to ensure ease in accessibility.

* A fourth floor was added to the Grainger Market to accommodate for more spaces. In order not to disrupt the order of the Grainger Market’s elevational proportions, the additional fourth floor volume was recessed inwards by 2m to prevent it from being visible on street level. The remaining spaces created by recessing the fourth floor would be used as terraces. ‫ ث‬

Clayton Street. Ground floor: cultural + high-end venues and establishments to contrast with poorly conditions of Clayton Street; first,

second, third, and fourth floor: communal activity block of elderly house.

‫ ج‬+ ‫ ح‬

Nelson Street, Nun Street (respective.) Ground floor: Retail; first, second, third, and fourth floor: elderly house block.

‫ خ‬

Grainger Street. Ground floor: boutique hotel reception/lobby with accompanying restaurant and retail; first, second, third, and fourth

floor: hotel block for elderly house guests.

G R A D P R O J E C T: Z O N I N G

11

٤

This axonometric diagram shows the Grainger Market in its current state- prior to any intervention. Note that the entrances are hard to distinguish from the shopfronts. As previously mentioned, there is a desire to animate the façades of the market and that will be achieved by engaging with both the entrances and shopfronts.

٤ 12

Garcia-Fuentes, Josep-Maria, Kieran Connolly, and Sam Clark. BA3 STUDIO GRADUATION PROJECT. Blackboard. Newcastle University, Sept. 2014. Web. 7 May 2015.

G R A D P R O J E C T: P R E - I N T E R V E N T I O N

This axonometric diagram shows the Grainger Market post-intervention. Note that the entrances have been defined by glazed extensions that hold activities of circulation or recreation, depending on the street the façade engages with. Revolving doors that are left open break the separation between that which is outside and inside, creating an overflowing series of spaces that are constantly in motion to contrast with the statcity of the market’s shell.

G R A D P R O J E C T: P O S T- I N T E R V E N T I O N

13

١

٢

٣

١ ٢ ٣ 14

١

Shopfronts for Art and Architecture (revolving doors inspiration.)

٢

S e agr a m Build ing (ke y insp ir a tio n fo r p a ne ling a nd v o lume of i n ter ven ti on .)

٣

Bosco Verticale (vertical garden wall inspiration.)

H o l l , S t e v e n . 9 3 - 0 9 3 - 0 2 B - - - W - P R O J E C T- H O R I . j p g . D i g i t a l i m a g e . S t e v e n H o l l . S t e v e n H o l l , n . d . We b . 9 M a y 2 0 1 5 . < h t t p : / / w w w. s t e v e n h o l l . c o m / m e d i a / f i l e s / 1 1 9 / 9 3 - 0 9 3 - 0 2 B - - - W - P R O J E C T- H O R I . j p g > C amhi, AJ. 1990_0.jp g . Dig ita l ima g e. 375 Pa r k Avenue. RF R, n.d . We b . 9 M a y 2015. <ht t p ://w w w.375p a r k a ve nu e .c om /H i s t or y >.

L’Espresso. Image.png. Digital image. L’Espresso. L’Espresso, 20 Nov. 2014. Web. 9 May 2015. <http://espresso.repubblica.it/polopoly_fs/1.184899.1413814078!/httpImage/image.png_gen/derivatives/articolo_648/image.png>.

G R A D P R O J E C T: P R E C E D E N T S

Various sketches showing how my intervention would work and how spaces would feel. Note the sketch with open doors and its resemblance to Steven Hollâ&#x20AC;&#x2122;s Shopfronts for Art and Architecture. Dynamism and placement are key motifs throughout this series of sketches.

G R A D P R O J E C T: I N T E R V E N T I O N D E V E L O P M E N T S K E T C H E S

15

Initial faรงade intervention model. Scale 1:100

1:50 glazed extension exploration: circulation.

1:50 glazed extension exploration: semi-private garden.

Please note that red is used as a representational method in models and drawings. It is used to highlight new additions, projecting elements, and structure.

16

G R A D P R O J E C T: D E V E L O P M E N T

1:50 retrofitting exploration: revolving doors.

1:500 contextual exploration. Volume x light.

G R A D P R O J E C T: D E V E L O P M E N T

1:200 circulation experimentation series.

17

Market Core

Combined model.

18

Section through stall.

Structure of internal glazing.

G R A D P R O J E C T: 1 : 2 0 0 F I N A L S E C T I O N A L M O D E L

Market Shell

LiTraCon columns.

Defined entrance.

Point of sectioning.

G R A D P R O J E C T: 1 : 2 0 0 F I N A L S E C T I O N A L M O D E L

19

20

G R A D P R O J E C T: S E C T I O N S , F I N A L C R I T S TA N D A R D

SECTION A-A; SCALE 1:400 This section aims to show the extents of my overall intervention to the Grainger Market. New elements are in red whilst existing elements are colored in black. Note that the arcade is left unscathed due to its excellent daylight allowance into the space below. Also note the parallel glazed extension spaces that host circulation which ties the existing and added space through a staircase which spatially cuts through the two elements to create a linked compostion. Also note the glazing from the faรงade which wraps itself around the building to find its way into the internal walls of the market shell to provide a visual connection.

G R A D P R O J E C T: S E C T I O N S , F I N A L C R I T S TA N D A R D

21

22

G R A D P R O J E C T: S E C T I O N S , F I N A L C R I T S TA N D A R D

SECTION B-B; SCALE 1:400 This section aims to show the longer portion of the Grainger Market and how it engages with my intervention. Note the glazed extension space which acts as a viewing deck. The retained faรงade behind the glazing hosts a vertical garden wall which would lie adjacently to two other vertical garden walls that surround the balconies of each apartment of the elederly house that is being hosted in the Nun and Nelson Street portions of the market shell. The aim of this space is to act as a semi-public space for the elderly to relax as well as to engage and converse with one another whilst being exposed to vegetation which could act as communal garden.

G R A D P R O J E C T: S E C T I O N S , F I N A L C R I T S TA N D A R D

23

G R A I N G E R S T R E E T E L E VAT I O N ; S C A L E 1 : 4 0 0 This elevation shows my approach to the Grainger Street façade of the Grainger Market. The same approach is taken on the Clayton Street façade.

At each corner block is a series of Light-Transmitting Concrete (LiTraCon) columns that cover the existing columns. LiTraCon is also used on the ground floor along with glazing to create an animate façade, where transparency is played with. The result is visible silhouettes of people in certain portions versus complete visibility. The glazed extensions articulate the entrances, standing out from the rest of the façade’s composition. Behind the glazed extensions on this façade and that of Clayton Street is vertical circulation.

24

G R A D P R O J E C T: E L E VAT I O N S , F I N A L C R I T S TA N D A R D

PRIOR TO INTERVENTION; SCALE 1:500

G R A D P R O J E C T: E L E VAT I O N S , F I N A L C R I T S TA N D A R D

25

N U N S T R E E T E L E VAT I O N ; S C A L E 1 : 4 0 0 This elevation shows my approach to the Nun Street faรงade of the Grainger Market. The same approach is taken on the Nelson Street faรงade. Unlike the previous elevation, there are five defined entrances. Two glazed extensions contain vertical circulation used for the elderly house, whilst the other three act as vantage points that hide vertical garden spaces behind them. Motion is emphasized in this drawing. This can be seen behind the LiTraCon doors, glazing, underneath the entrances, and on the doors, where they are pushed by uers. The various levels of transparency created by the materials used are also emphasized here.

26

G R A D P R O J E C T: E L E VAT I O N S , F I N A L C R I T S TA N D A R D

PRIOR TO INTERVENTION; SCALE 1:500

G R A D P R O J E C T: E L E VAT I O N S , F I N A L C R I T S TA N D A R D

27

N

28

G R A D P R O J E C T: G R O U N D F L O O R P L A N ; F I N A L C R I T S TA N D A R D . S C A L E 1 : 5 0 0

*

N

G R A D P R O J E C T: G R O U N D F L O O R P L A N ; P O R T F O L I O S TA N D A R D . S C A L E 1 : 5 0 0

*

29

N

30

G R A D P R O J E C T: F I R S T F L O O R P L A N ; F I N A L C R I T S TA N D A R D . S C A L E 1 : 5 0 0

N

G R A D P R O J E C T: S E C O N D F L O O R P L A N ; F I N A L C R I T S TA N D A R D . S C A L E 1 : 5 0 0

31

N

32

G R A D P R O J E C T: T H I R D F L O O R P L A N ; F I N A L C R I T S TA N D A R D . S C A L E 1 : 5 0 0

N

G R A D P R O J E C T: F O U R T H F L O O R P L A N ; F I N A L C R I T S TA N D A R D . S C A L E 1 : 5 0 0

33

*

Cross-alleyway

*

Alleyway

34

G R A D P R O J E C T: I N T E R N A L P E R S P E C T I V E S

*

*

Vertical garden-balcony space.

G R A D P R O J E C T: I N T E R N A L P E R S P E C T I V E S

*

35

The intervened marked stands face-to-face with Eldon Square and Tesco.

The glazed extensions that define the Grainger Marketâ&#x20AC;&#x2122;s entrances, compete with the cylondrical entrance of the opposite section of Eldon Square.

36

G R A D P R O J E C T: E X T E R N A L P E R S P E C T I V E S ; C L AY T O N S T R E E T

*

*

The market stands across the opposing building which shares the same architectural style. With the intervention, the Grainger Market manages to stand out from its neighbor without seeming foreign to the townscape.

G R A D P R O J E C T: E X T E R N A L P E R S P E C T I V E S ; N U N S T R E E T

*

37

*

The Grainger Market in view with the hidden portion of Eldon Square which disguises itself as one of Grainger Townâ&#x20AC;&#x2122;s buildings. A sense of rhythm is created through the defined entrances which harmoniously contrast with the opposing building whilst engaging with its rhythmic roof visually.

38

G R A D P R O J E C T: E X T E R N A L P E R S P E C T I V E S ; N E L S O N S T R E E T

*

*

The Grainger Market on the very busy Grainger Street manages to coexist with its immediate context on the street whilst having its own unique character through the use of LiTraCon and glazed extensions.

G R A D P R O J E C T: E X T E R N A L P E R S P E C T I V E S ; G R A I N G E R S T R E E T

*

39

‫أ‬

‫ت‬

‫ب‬

40

‫ أ‬

Louvers to ventilate market.

‫ ب‬

Solar hot water collectors.

‫ ت‬

S t a c k

v e n t i l a t i o n .

G R A D P R O J E C T: E N V I R O N M E N TA L S T R AT E G Y

SHADE-TOLERANT VINES

Climbing Hydrangeas

PERENNIAL VINES

Chinese Wisteria

*

English Ivy

Honeysuckle

Trumpet Vines

Clematis

*

The plants shown above are to be used in the vertical gardens of the glazed extension spaces. Depending on the vertical gardenâ&#x20AC;&#x2122;s location in relation to solar exposure, certain plants are selected. Where there is little or no solar access, shade-tolerant vines are used, whereas areas exposed to sunlight will use perennial vines.

G R A D P R O J E C T: S E L E C T E D V I N E S F O R G R E E N WA L L S

*

41

42

G R A D P R O J E C T: T E C H N I C A L D E TA I L S : G L A S S E X T E N S I O N F I N A L C R I T S TA N D A R D . S C A L E 1 : 5 0

G R A D P R O J E C T: T E C H N I C A L D E TA I L S : G L A S S E X T E N S I O N F I N A L C R I T S TA N D A R D . S C A L E 1 : 5 0

43

* ‫أ‬

‫ب‬

‫ج‬

‫ت‬ ‫ث‬

‫ح‬

44

G R A D P R O J E C T: T E C H N I C A L D E TA I L S : G L A S S E X T E N S I O N , P O R T F O L I O S TA N D A R D . S C A L E 1 : 5 0

*

‫ أ‬

Steel truss

‫ ب‬

Vertical garden wall

‫ ت‬

Balcony of ederly accommodation

‫ ث‬

Vertical garden wall structural system

‫ ج‬

Retained existing wall

‫ ح‬

Glazed extension space

G R A D P R O J E C T: T E C H N I C A L D E TA I L S : G L A S S E X T E N S I O N , P O R T F O L I O S TA N D A R D . D E TA I L S

*

45

*

‫أ‬ ‫ب‬

‫ت‬

‫خ‬ ‫ث‬

‫ج‬

‫أ‬

‫ح‬

46

G R A D P R O J E C T: T E C H N I C A L D E TA I L S : G L A S S E X T E N S I O N , P O R T F O L I O S TA N D A R D . S C A L E 1 : 5 0

*

‫ أ‬

Revolving glass panel. Acts as air inlet and/or outlet.

‫ ب‬

Retained existing wall.

‫ ت‬

Glazed extension space.

‫ ث‬

Retroffited window used as an opening for circulation.

‫ ج‬

Vertical circulation going in and out of retained wall.

‫ ح‬

Raft foundation.

‫ خ‬

Horizontal shading/ louvers made from lightweight aluminium.

G R A D P R O J E C T: T E C H N I C A L D E TA I L S : G L A S S E X T E N S I O N , P O R T F O L I O S TA N D A R D . D E TA I L S

*

47

‫أ‬

‫ أ‬ ‫ ب‬

Elevation Section

‫ب‬

48

G R A D P R O J E C T: T E C H N I C A L D E TA I L S : R E V O LV I N G L I T R A C O N D O O R S , F I N A L C R I T S TA N D A R D . S C A L E 1 : 2 0

Proposed new roof/ skylight.

Proposed retrofitted steel beam.

Proposed retrofitted steel column.

Column covering of existing market stalls.

Raft foundation.

Proposed steel plate.

G R A D P R O J E C T: T E C H N I C A L D E TA I L S : S T E E L C O L U M N R E P L A C E M E N T S , F I N A L C R I T S TA N D A R D . S C A L E 1 : 5 0

49

50

T

E

C

T H I N K I N G

H

٢

W

T H R O U G H

E

E

K

M A K I N G

This week-long activity comprised of various workshops and a week-long task of producing a 1:1 drawing that could relate to our design project as a means of thematic exploration. Each attended workshop aimed to allow for a hands-on exploration with construction materials or abstractions of them to develop a further understanding of their physical properties, whether density, flexibility, or production. Key themes explored are: materiality, properties, process, creation, hands-on, scale, concept, and detail.

51

The goal of this workshop was to cast concrete and develop an understanding of how concrete is made albeit in an accelerated process. Sand, water, cement, aggregate, and glue were used in different proportions to create concrete that would set faster. We were encouraged to create unique slabs of concrete using the materials used to case the concrete. As a result, some casts had a beautiful marbling while others had rough edges from the aggregate used. In the end, all of the slabs were aggregated next to each other to show the different interpretations concrete could have.

52

TECH WEEK: CONCRETE WORKSHOP

The aim of this workshop was to create mirrors in unique forms using lightweight abstractions of actual mirrors: lightweight steel sheets and KELVALITE- a material used for emergency blankets. The sheets of steel were bent and bolted to create an overlapping, sealed geometrical form. The bent sheet would then be tightly wrapped in KELVALITE, taped on the edges and then smoothed using a heat blaster to create a wrinkle-free surface that could create clear reflections. In the end, all of the mirrors were suspended on the ceiling to create reflections of the light show projected in the workshopâ&#x20AC;&#x2122;s room.

TECH WEEK: MAKING MIRRORS

53

The goal of this workshop was to explore how carbon fiber, a magnetic material acts by playing with it; in the first attempt, a sheet of carbon fiber was cut into smaller pieces that would be weaved together. The result was a patterned sheet with a stronger bond. In the second attempt, pieces of carbon fiber were cut and built up to create a unique composition, though the strength of this composition was inferior to that of the weave. The overall physical properties of carbon fiber were explored and manipulated throughout the workshop.

54

TECH WEEK: CARBON FIBER WORKSHOP

This drawing explored the thresholds between public, private, and semi-public/private spaces. The greater the space between the lines, the more public it is, and the more the splatter of paint, the more heavily occupied by people the space is. Note the near-absence of paint splatters in the tight, private spaces.

T E C H W E E K : 1 : 1 D R AW I N G

55

56

ŮŁ

M A R K E T S TA L L x S U R V E Y T

H

E

M

O

D

U

L

E

This project involved designing a small market stall or artifact for selling and displaying goods as well as surveying the Grainger Market in order to produce drawings that could serve as a reference for the Graduation Project. My market stall aspect of the project focuses on a series of modular rectilinear units that could be articulated in different ways to allow for different uses and forms of expression. Key themes explored in this project are: structure, stability, mobility, flexibility, extension, overflowing, durability, and accuracy.

57

d a

a

+

b

+

+

c

d

d a

c

c

b

=

b

d c b

b

+

+

c

b

+

d

=

b

=

b

b

b

d b

+

d

=

b

Diagrams that emphasize my concepts:

١

٣ ٢

٤

58

Flexibility of use and free articulation.

Overflowing/extended spatial implication.

A simple and basic, yet effective and versatile form.

The ability to work together or act as standalone units.

M A R K E T S TA L L : C O N C E P T x P R E C E D E N T S

d c

١

٢

٣

١ ٢ ٣

١

W h i t e L i m o u s i n e Ya t a i

٢

N 5 5 Sm a ll Tr uc k

٣

Tetris

Atelier Bow-Wow. Atelier Bow-Wow White Limousine Yatai Axon. Digital image. Flickr. Flickr, 21 Sept. 2009. Web. 1 May 2015. <https://www.flickr.com/photos/packinglight/3942922257>.

S . b il f r iby_l av. jpg. D igit al ima g e. N55. N55, 2005. Web . 1 Ma y 2 015. <ht t p ://w w w.n55.d k /m a nu a ls/s m a llt r u c k /S .b i lf r i b y _ la v.j p g>.

PAT R I C K . P ict u r e + 2 . p n g . D i g ita l

P ict u r e + 2 . p n g > .

image.

I A M J A C K ’ S G R A D U AT E E D U C AT I O N . B l o g spot , 2 6 A pr . 2 0 1 0 . W e b . 1 M a y 2 0 1 5 . < h ttp : / / 3 . bp . b l o g spot . co m / _ C W u C T e g I X as / S 9 Y m - Y F 5 iw I / A A A A A A A A B X k / w u sw 1 w V ttdk / s 1 6 0 0 /

M A R K E T S TA L L : C O N C E P T x P R E C E D E N T S

59

1:1 Prototype of Unit D.

Design development sketches.

60

M A R K E T S TA L L : D E S I G N D E V E L O P M E N T

*

*

a

d c b

M A R K E T S TA L L : A X O N O M E T R I C D R AW I N G S ; F I N A L C R I T S TA N D A R D ( S M A L L ) ; P O R T F O L I O S TA N D A R D ( L A R G E )

61

My design is a series of units that act as modules with specific dimensions.: Unit A is 3m wide, by 3m high, by 3m long.

Unit B is 1.5 m wide, by 1m high, by 1.5 m long.

Unit C is 1.125m wide, by 0.75m high, by 1.125m long.

Unit D is 0.75 m wide, by 0.5m high, by 0.75m long.

Structurally, this series of units has a glulam frame structure with marine plywood cladding and polycarbonate sheets as a form of glazing and display. All parts were designed with the intent of ease in disassembly, transportation, and stability using a series of foldable, retractable, replaceable, and detachable parts.

62

M A R K E T S TA L L : D I A G R A M S

A

A

B

B

D

F

Unit A (open)

F

Unit B (open)

D

C

E

E

Unit B (shut)

Unit A (shut) C

* A

A

B

B

D

*

Unit A (open)

F

F

Unit B (open)

C

D E

*

*

E

Unit B (shut)

Unit A (shut) C

Functionally, unit A acts as a storage and selling space which can be entered or walked through. Its main purpose is to shelter customers and sellers whilst being able to display and sell objects. Units B, C, and D all have identical functions, with shelves being able to be slid out to the customerâ&#x20AC;&#x2122;s reach or that of the salesman. Two shelves slide out on one axis, whilst another slides on a perpendicular axis to act as a sliding bench that customers may sit on should they wish to. Shelves may be completely removed from units B, C, and D to accommodate for the storage or display of larger objects.

Note: Units B, C, and D share identical plans with sizing being the only difference.

M A R K E T S TA L L : P L A N S ; F I N A L C R I T ( A B O V E ) x P O R T F O L I O S TA N D A R D ( B E L O W )

63

a

d c b

UNIT A (open.) SECTION B-B. SCALE 1:25.

Note the extruded shelf, which may act as a sun shelter, extended display, or rainfall shelter by being slanted. The canopy-shelf is controlled by the crank shown in the section above. The lowered ramp is controlled by another crank and acts as stepping stone into unit A or a barrier to prevent access.

UNIT B (shelves pulled out). SECTION D-D. SCALE 1:25 Note the extruded shelves coming out of unit B. Also note the polycarbonate sheet which may be removed to allow for the shelves to extrude in two directions.

64

M A R K E T S TA L L : S E C T I O N S ; F I N A L C R I T S TA N D A R D

UNIT A (Shut). SECTION C-C. SCALE 1:25 Note the structure and jointing of Unit A. The entire compositiion is supported by a glulam frame which is cladded in marine plywood.

Also note the foldable pegs and wheels for Unit A, which could be used to give it movement or additional stability on uneven terrain. Also visible in this section is the rampâ&#x20AC;&#x2122;s crank.

UNIT B (bench extruded.) SECTION E-E. SCALE 1:25 Note the extruded bench, which has rotating supports to provide it with stability and structural strength. Also note the foldable wheels.

M A R K E T S TA L L : S E C T I O N S ; F I N A L C R I T S TA N D A R D

65

a

d c b

*

UNIT A(open.) SECTION B-B. SCALE 1:25

*

Note that there are now two ramps rather than one in order to provide flow to and from unit A. Also note that polycarbonate panels which provide a visual connection between aggregate pavilions and/or products displayed in the recessed space. These newly added polycarbonate panels provide better illumination in unit A.

*

*

UNIT B (shelves pulled out.) SECTION D-D. SCALE 1:25

Note the additional extruding shelf which sits directly above the bench shelf (unextruded.) This shelf was added to prevent the placement of products on the benchshelf that would fall should the bench-shelf be pulled out.

66

M A R K E T S TA L L : S E C T I O N S ; P O R T F O L I O S TA N D A R D

**

UNIT A (shut.) SECTION B-B. SCALE 1:25

*

Note the lowerd canopy shelf, which can now rotate up to 90째 and slide vertically in order to act as an additional barrier to prevent access when the Unit A is shut.

Also note the 3째 pitch on the roof of this unit to prevent rainwater collection. This newly pitched roof is covered with a layer of rubber to protect the marine plywood from harm.

*

UNIT B (extruded bench.) SECTION E-E. SCALE 1:25

*

M A R K E T S TA L L : S E C T I O N S ; P O R T F O L I O S TA N D A R D

67

The chosen site for aggregating my market stalls is Grey Street because of its central and easily accessible location, especially with its close proximity to the metro station and Greyâ&#x20AC;&#x2122;s Monument, a landmark of the city center and because it is surrounded by approximately 8 different access routes, making it a strategic location. With the nearby Greyâ&#x20AC;&#x2122;s Monument being quite a busy area of town, having the market stalls nearby is sure to draw people in.

68

M A R K E T S TA L L : P R O P O S E D S I T E F O R A G G R E G AT I O N

*

*

Seen are

in the

both

the

final

Alternating

crit

Tu n n e l

and and

portfolio Courtyard

iterations

of

aggregation

these

renders

formations

of

my market stalls. The Courtyard Formation aims to create an encased, yet

unisolated

space,

whereas

the

Alternating

Tu n n e l

Formation

aims

to recreate pedestrian movements within the streets of the city center and contain them within the market stalls as well as pinpoint Greyâ&#x20AC;&#x2122;s Monument.

M A R K E T S TA L L : P E R S P E C T I V E S O F A G G R E G AT I O N O F S TA L L S I N P R O P O S E D S I T E

69

‫ب‬

‫أ‬

*

‫ت‬

70

M A R K E T S TA L L : P R O P O S E D A G G R E G AT I O N P L A N S I N 1 : 1 0 0 M O D E L F O R M .

*

‫ث‬

*

*

‫ج‬

‫ح‬

*

‫ أ‬

Alternating Tunnel Formation

‫ ب‬

Courtyard Formation

‫ ت‬

Linear Tunnel Formation*

‫ ث‬

Linear Shops Formation*

‫ ج‬

Alternating Shops Formation*

‫ ح‬

Parallel Shops Formation*

‫ خ‬

Isolation Formation*

The letters used to label each photograph correspond with the labeling used on the following page.

‫خ‬

M A R K E T S TA L L : P R O P O S E D A G G R E G AT I O N P L A N S I N 1 : 1 0 0 M O D E L F O R M .

71

‫ أ‬Alternating Tunnel Formation

‫ب‬

Courtyard Formation

*

‫ ت‬Linear Tunnel Formation

*

‫ ث‬Linear Shops Formation *

‫ج‬

*

‫ ح‬Parallel Shops Formation

Alternating Shops Formation

*

‫خ‬

72

Isolation Formation

M A R K E T S TA L L : P R O P O S E D A G G R E G AT I O N C L O S E - U P S

This model shows units A, B, C, and D all in one, with the emphasis being placed on unit A and how it functions albeit in a smaller scale and an abstracted approach. Interactive elements, such a s t h e e x t e n d i n g c a n o p y - r o o f , r a m p , a n d i n t e r n a l w a l l d i s p l a y, h a v e b e e n c o l o r e d i n r e d t o h a v e t h e m s t a n d o u t f r o m t h e r e s t o f t h e m o d e l . M a t e r i a l s u s e d : 6 m m M D F, m e t a l d o w e l , a n d b o l t s .

M A R K E T S TA L L : 1 : 1 0 F U N C T I O N A L M O D E L

73

CONTENT REMOVED FOR ONLINE PURPOSES.

74

CONTENT REMOVED FOR ONLINE PURPOSES.

75

CONTENT REMOVED FOR ONLINE PURPOSES.

76

CONTENT REMOVED FOR ONLINE PURPOSES.

77

78

S U R V E Y: C L AY T O N x N U N S T R E E T E L E VAT I O N - F I N A L C R I T S TA N D A R D

S U R V E Y: C L AY T O N x N U N S T R E E T E L E VAT I O N - F I N A L C R I T S TA N D A R D

79

80

S U R V E Y: C L AY T O N S T R E E T D E TA I L E D E L E VAT I O N . S C A L E 1 : 7 5 ; F I N A L C R I T S TA N D A R D

S U R V E Y: N U N S T R E E T D E TA I L E D E L E VAT I O N . S C A L E 1 : 7 5 ; F I N A L C R I T S TA N D A R D

81

82

S U R V E Y: N E L S O N S T R E E T D E TA I L E D E L E VAT I O N . S C A L E 1 : 7 5 ; F I N A L C R I T S TA N D A R D

S U R V E Y: G R A I N G E R S T R E E T D E TA I L E D E L E VAT I O N . S C A L E 1 : 7 5 ; F I N A L C R I T S TA N D A R D

83

NELSON STREET

GRAINGER STREET

CLAYTON STREET

ELECTRICS

Shutter

Shutter

Approx 2mtrs (no measurement)

Fridge

Fridge

Fridge

Locked off area with partition timber walls

Locked up Area

Turkish Grand Bazaar 165 Bryan Muers and Sons 117 - 164 Ian Wood Memorials

Recent Relics TV and Movie Collectables (No 72 - 115

Grainger Delicatessen Boarded up sash windows

RED CROSS SHOP

BETFRED PARK LANE CARDS GRAINGER GAMES

BOWERS

REFLEX

ELECTRICAL REPAIR AGENCY LEBARA

ENTRANCE 1

ENTRANCE 2 ENTRANCE 3

ENTRANCE 4

ENTRANCE 5

NUN STREET

Ground Floor Plan

Scale 1:500

N

84

S U R V E Y: G R O U N D F L O O R P L A N , F I N A L C R I T S TA N D A R D . S C A L E 1 : 5 0 0

N

S U R V E Y: F I R S T, S E C O N D , & T H I R D F L O O R P L A N , F I N A L C R I T S TA N D A R D . S C A L E 1 : 5 0 0

85

N

86

S U R V E Y: R O O F P L A N , F I N A L C R I T S TA N D A R D . S C A L E 1 : 5 0 0

S U R V E Y: D I A G R A M S , F I N A L C R I T S TA N D A R D .

87

88

S U R V E Y: S E C T I O N , F I N A L C R I T S TA N D A R D . S C A L E 1 : 3 0 0

S U R V E Y: S E C T I O N , F I N A L C R I T S TA N D A R D . S C A L E 1 : 3 0 0

89

BOROUGH MARKET G E N T R I F I C AT I O N The market is thought to have been around since 1014 and has always had a high standard of produce.

It is mainly food on sale in the market such as fresh fruit, vegetables, cheese, meat, game, bread, and pastries. The market ensures high standards or produce by employing a food quality panel of impartial experts who ensure that the taste, provenance, and quality of foods sold are all regularly measured and maintained. Small traders are supported to meet these standards.

It is thus a high end market, which holds a very high standard for their produce and has become a fashionable place to buy food (possibly moreso due to being featured in several TV programmes and films.)

Please note that the colors used in the photographs and the overall layout of this topic of the guidebook has been altered to fit with the portfolioâ&#x20AC;&#x2122;s overall layout and visuals.

90

Approximate scale 1:500

S U R V E Y: G U I D E B O O K

Side rooflights

Aerial view.

Internal view of the arcade.

Corner of Clayton and Nun Street, where Bowers is located.

Alleyways.

S U R V E Y: 1 : 2 0 0 G R O U P S I T E M O D E L

91

٤

C H A R R E T T E

W E E K

A

L I V I N G

P

M A C H I N E A

R

T

Y

F O R M

A

C

H

I

N

E

This project involved designing an animate sequences through the use of recycled materials to recreate a certain activity one would experience in life. Each activity triggered would trigger the next through a series of chain-reactions with the initial trigger being human interference. This project specifically focuses on the party scene and as a result common elements in parties such as beer pong, alcohol, shot glasses, and party poppers were used in the sequence. Key themes explored in this project are: trigger, chain, animation, flow, and alignment.

92

A M A C H I N E F O R L I V I N G : PA R T Y M A C H I N E

93

94

A

R

٥

C

3

0

4

0

ARCHITECTURAL TECHNOLOGY C

O

U

R

S

E

W

O

R

K

95

ADEL KAMESHKI

STAGE 3 ARCHITECTURE ARC3013-ARCHITECTURAL TECHNOLOGY COURSEWORK

SECTION 1 FUNCTIONAL MODEL (Please note that this is a model of the design prior to portfolio modifications the design being presented in this coursework however, is the modified design.)

DESIGN SUMMARY The idea behind this design is to create a series of units (Units B, C, and D) that sell and diplay objects that could be articulated in different ways, much like tetris.

This series of units would be encased in a larger unit that would act as a shelter (Unit A) as well as a space that could also sell objects.

All units have equal proportions in different scales, thus forming a modular approach to their design.

The goal of the design is to allow for maximum flexibility within all units. Unit B can have a bench pulled out from the side.

Units B,C, and D can be completely emptied of their shelves to accomodate for larger objects.

Unit A has a canopy-shelf that can shelter entering users or act as a secondary display source. That canopy-shelf can be moved through a crank system combined with an advanced drawer system that allows for the shelf to slide forwards and backwards. The shelf may be removed completely should more headspace be desired.

These units as a whole may act as a single composition or be used independently.

Units B,C,and D have the opportunity to be pavilions of their own when combined without relying on Unit A, whilst it (Unit A) can act as an independent pavilion in its own right. Unit A may also be linked to more identical units from the front and/ or back to create an even larger or more continuous space.

Precedents looked at are the N55 Small Truck1 and the White Limousine Yatai2.

1 Siegal, Jennifer. More Mobile: Portable Architecture for Today.

New York: Princeton Architectural, 2008. Print.

2 Ibid.

96

ARC3013: ARCHITECTURAL TECHNOLOGY COURSEWORK

PAVILION AND UNIT PLANS A

B

UNIT A (CLOSED)

UNIT SPECIFICATIONS

STRUCTURAL SPECIFICATIONS

Unit A

All units are covered with recycled marine plywood sheets that are 12.5 mm thick.1

Unit B

Length: 1500 mm, Width: 1500 mm Height: 1000 mm

UNIT B (CLOSED)

UNIT B (OPEN)

UNIT C (CLOSED)

UNIT C(OPEN)

UNIT D (CLOSED)

UNIT D (OPEN)

UNIT A (OPEN)

A

Length: 3000 mm, Width: 3000 mm Height: 3000 mm

B

The used structure is a glulam timber frame. The thickness of the frame is 49 mm for units A and B, 34 mm for unit C, and 24 mm for unit D.2 All units have polycarbonate sheets in the original design that are 12 mm thick.3 All units in the modified design use Greencast® Acrylic instead of polycarbonate of the same thickness.4

Unit C

Length: 1125 mm, Width: 1125 mm Height: 750 mm

Unit D Length: 750 mm, Width: 750 mm Height: 500 mm

1 “Plywood Handbook.” The Construction Information Service -. Council of Forest Industries, n.d. Web. 17 Jan. 2015.

2 Trada. “Glued Laminated Timber.” Wood Information Sheet 1/ 6 (2003): 1-8. Ihsti. Trada Techonology, 2003. Web. 17 Jan. 2015.

3 Glass and Glazing Federation. “Plastics Glazing Sheet Materials - Basic Products.” Ihsti Glazing Manual Data Sheet 1.1.2 (2000): n. pag. Ihsti. Glass and Glazing Federation, 2000. Web. 17 Jan. 15.

4 AMARI Plastics PLC. “Greencast Technical Information.” Acrylic Sheet - Greencast ® from Amari Plastics Protecting Your Future (n.d.): n. pag. AMARI Plastic.

AMARI Plastic, 8 May 2014. Web. 19 Jan. 2015. <http://www.amariplastics.com/amariplastics/greencast_techbrochure.pdf>.

AXONOMETRIC AND SECTIONS

SECTION A-A

SECTION B-B

ARC3013: ARCHITECTURAL TECHNOLOGY COURSEWORK

97

CONTEXTUAL AGGREGATION PLAN

GR

AIN

GE

RS

TRE

ET

Y GRE

ET

STRE

SECTION 2 A. CONSTRUCTION REDUCTION

FIGURE A-1

The design project’s brief states that 10 pavilions with dimensions not greater than 3000 mm x 3000 mm should be designed. It seems reasonable to question the need for 10 pavilions at that specific dimension as producing that many would mean that more materials would have to be used. It is possible to save more material by having a smaller pavilion with resonable dimensions such as 2000 x 2000 x 2000 mm. It would be possible to consume less materials by producing pavilions according to the required units (A,B,C, and/ or D) according to the user’s needs. Materials used for all units are Polycarbonate(in the original design), recycled Marine Plywood, and Glulam timber frames. Glulam consumes less wood than solid sawn timber and can be made from smaller sections of timber from other trees or off-cuts.1 The use of recycled Marine Plywood2 ensures less production and consumption of wood to produce the material, it is however possible to reduce material consumption even further by using thinner sheets of Marine Plywood at reasonable thicknesses such as 9 mm.

The units of the pavilion ensure maximum flexibility in terms of storage and use. Objects of multiple sizes may be stored within the units due to their varying sizes, removable shelves, and bench. This would ensure that merchandise sold within the units are more versatile, thus maximizing flexibility to cater for different shops. Furthermore, units B, C, and D may be articulated in various ways to serve different uses, much like the N55 Small Truck(Figure A-2)3, ensuring further flexibility. A bookstore with a bench could be articulated and can even be converted to a takeaway food shop simply by rearranging the units used, this allows the design to be manipulated as well as prevent the need to produce more units for a single purpose.

Unit A may simply be used as a shelter or for further storage or display, depending on the function, it may also be removed from the equation. This ensures an intensification of use, resulting in longer usage of the pavilion and attracting more users throughout the day.

Whilts Grey Street is the chosen site for the pavilion(s), it is not the only location in which the pavilions may be placed, this allows for a further intensification of use.

By having repeated units for my pavilion, modularity is achieved. The greater the number of each unit, the less the cost of materials and the more efficient the usage as boards of specific dimensions could be cut to produce exact quantities of the required structural component dimensions. All units use a standardized 12.5 mm thick recycled Marine Plywood. This means that a consistent thickness is used, and a possible reduction in cutting more wood due to the consistent size is 1 Buckland Timber. “How Glulam Is Made.” Buckland Timber. Buckland Timber, n.d. Web. 17 Jan. 2015.

2 Coventry, S., C. Woolveridge, and S. Hillier. “The Reclaimed and Recycled Construction Materials Handbook.” DETR C513 (1999): 170. Ihsti.

CIRIA. Web. 17 Jan. 2015. <Coventry, S., C. Woolveridge, and S. Hillier. “The Reclaimed and Recycled Construction Materials Handbook.” CIRIA C513 (1999): 170. Ihsti. Web. 17 Jan. 2015. .>.

3 Siegal, Jennifer. More Mobile: Portable Architecture for Today. New York: Princeton Architectural, 2008. Print.

98

achieved along with less wastage.4 Standardization is also achieved in the sheets of Greencast ® acrylic in the modified design, used in all units. Unit A uses 12 sheets of the same dimensions and another two sheets of identical dimensions. This ensures relatively cost effective and efficient use of polycarbonate or sheets. This however is not completely true, as units B, C, and D also use Greencast ® Acrylic sheets each with their own unique dimensions to match the width and height of each pavilion. Should each unit be repeated multiple times, the wastage of Greencast ® Acrylic would be reduced, but not completely due to the differing sizes, this however is arguable, as the acrylic is recyclable. The same issue of dimensions applies to the recycled marine plywood sheets. The greatest issue however lays with the glulam frames. The depth of the frames for units A and B are identical, however units B and C each have their own unique depth, this issue is worsened when the length of each frame is taken into account, thus resulting in an inefficient use of the glulam as well as an increase in cost, even if the frames are repeated for each unit.

Arguably, glulam is made from smaller cuts of timber, thus wastage may be minimal.5

FIGURE A-2 i

FIGURE B-1ii

B. CONSTRUCTION REUSE The structural components of the pavilion present the opportunity to be reused for completely other objects such as furniture. If the glulam frames are taken out from one of the smaller units and assembled with the recycled marine plywood, it is possible to create a table or other pieces of furniture. Structural components of unit A may even be used in actual timber frame buildings that use glulam, should they meet the required strength class.6 The wooden structural elements of the pavilion may also be used for construction shuttering and hidden studs in construction. This was done in my design to ensure that the design remains sustainable throughout its lifetime and beyond.

FIGURE B-2

The pavilion provides the opportunity to change completely in function and be adaptively reused for something other than selling and displaying objects to prevent the construction of more units as well as allow for personal articulation of the units. Units in the pavilion have the opportunity to be rearranged to create a different articulation and serve an entirely different purpose such as a bar, taking a form similar to that of the White Limousine Yatai(Figure B-1)7 which might be used at a different time of the day as well as require slightly different facilities to those of the shops, such as additional seating and space for customers. Figure B-2 further shows the change 4 Swedish Finnish Timber Council. Principles of Timber Framed Construction: A Guide to the Use of Swedish and Finnish Redwood and Whitewood in Timber Framed Dwellings. Retford, Notts.: Swedish Finnish Timber Council, 1979.

Print.

5 Trada. “Glued Laminated Timber.” Wood Information Sheet 1/ 6 (2003): 1-8. Ihsti. Trada Techonology, 2003. Web. 17 Jan. 2015.

6 Hurley, J. W. Deconstruction and Reuse of Construction Materials. Watford: BRE, 2001. Print.

7 Siegal, Jennifer. More Mobile: Portable Architecture for Today. New York: Princeton Architectural, 2008. Print.

ARC3013: ARCHITECTURAL TECHNOLOGY COURSEWORK

i N55 Small Truck. Digital image. Tiny House Talk. N.p., n.d. Web. <http://tinyhousetalk.com/wp-content/uploads/small-bicycle-truck-micro-kitchen. jpg>. ii White Limousine Yatai. Digital image. Echigo-Tsumari. N.p., n.d. Web. <http://www.echigo-tsumari.jp/uploads/sized/uploads/artwork/T042_Anzai_ web-940x470.jpg>.

in function. By providing functional flexibility, this eliminates the need to build different units or pavilions as one series of units is adequate enough to create entirely different function and consequently prevents wastage. Smaller units, or more specifically unit D, can even be used for domestic functions such as a coffee table. The ability to rearticulate or shift units is made easy by the addition of casters at the bottom of each unit, which could be folded into the structure should movement not be desired.

One of the requirements of the design project’s brief was to ensure that the pavilion would be able to be disassembled or deconstructed for ease of transportation to other locations and to prevent construction of newer pavilions in other sites. As a result, all structural components in all units were attached to one another using bolts, hinges, and screws as to ensure that these components could be taken apart; the glulam frames were attached to the Marine Plywood cladding through bolts, whilst Greencast ® Acrylic sheets were bolted at their corners in order to have a flush connection (Figure B-3.) This ensures that all the structural components used in all units could be taken out with minimal wastage, thus allowing for a greater opportunity for these components to be put together once again or be reused for other purposes as mentioned above.8 The Pavilions are built on site and so transportation for construction is minimized by having all the components carried to the site and assembled on the spot rather than transport materials, process them, and then carried the processed components to the site. This ensures less carbon emissions from transportation as well as a reduction in emissions created by processing the materials.

One major shortcoming of the pavilion is its lack of potential for future adaptation. That potential is limited to three possibilities: connecting one unit to the other to create a larger space (Figure B-4) or more storage, rearticulating units to fit different functions for future purposes, and extending the canopy-shelf of unit A to create an implied extended space that could be for a variety of functions.

The simple form of each unit gives the pavilion a sense of versatility in terms of functions, but that is as much potential for future adaptation as possible each pavilion is no more than a single space.

C. CONSTRUCTION RECYCLING Whilst it is possible to reclaim the timber, any reclaimed glulam frames would likely be used for non-structural purposes such as “dummy beams”9 (Figure C-110 this is especially the case if the glulam does not meet the required strength value. The Marine Plywood may be 8 CIRIA. “Principles of Design for Deconstruction to Facilitate Reuse and Recycling.” Ihsti. CIRIA, n.d. Web. 17 Jan. 2015. <http://products.ihs.com/cis/ Doc.aspx?DocNum=267729>.

9 Coventry, S., C. Woolveridge, and S. Hillier. “The Reclaimed and Recycled Construction Materials Handbook.” DETR C513 (1999): 170. Ihsti.

CIRIA. Web. 17 Jan. 2015. <Coventry, S., C. Woolveridge, and S. Hillier. “The Reclaimed and Recycled Construction Materials Handbook.” CIRIA C513 (1999): 170. Ihsti. Web. 17 Jan. 2015. .

10 Charmed By Wine. 08-03-17-20-39.jpg. Digital image. Charmed By Wine. Charmed By Wine, 3 Aug. 2012. Web. 22 Jan. 2015. <https://charmedbywine.files.wordpress.com/2013/02/2012-08-03-17-20-39.jpg>.

used for structural purposes, should it meet the required dimensions specified by the user11 or it may be reclaimed for educational works such as woodshop classes.12 Both the Marine Plywood boards and Glulam frames can be reclaimed by cutting off the sections where bolts were placed or by simply removing the bolts (Figure C-2.)13 This would result in minimal wastage.14 Using reclaimed timber is cheaper than using primary timbers that have not been recycled.

15 Greencast ® Acrylic presents itself as an ideal material for reclamation or reuse due to its high durability, however it may be difficult to reuse the smaller sheets of Greencast ® Acrylic due to their relatively small dimensions unless a modular set of the sheets (as used in Unit A) are reclaimed and used as a single identity as a form of tiling or the sheets are recycled to make a single larger sheet.

In terms of material or component recycling, my pavilion lacks that ability with the exception of the Greencast ® Acrylic and Marine Plywood, which can be manufactured into another plywood sheet or combined with other plywoods to produce a larger sheet of recycled plywood board or simply recycled into chipping or chipboard for furniture.16 The glulam frames on the other hand may prove to be difficult to recycle due to the presence of adhesives that keep the timber cuts together as well as the presence of certain preservatives that may be harmful such as Formaldehyde and Resorcinol.17 The most challenging material to recycle however is the polycarbonate sheets (used in the original design), which are coded 7 in terms of recyclability, used in the pavilion units. When a material is coded 7 it means that it is difficult to recycle. It is important to note however, that recycled polycarbonate has less impact resistance and resilience than polycarbonate that is not recycled.18 By using recycled or reclaimed materials, it is possible to achieve a higher BREEAM rating, eliminate the need to transport raw materials, which consequently reduces energy consumption and gas emissions, and eliminate processing to form raw materials into usable structural materials.19 11 Ibid.

12 CIRIA. “Principles of Design for Deconstruction to Facilitate Reuse and Recycling.” Ihsti. CIRIA, n.d. Web. 17 Jan. 2015. <http://products.ihs.com/cis/ Doc.aspx?DocNum=267729>.

13 Rosboro. Beam-Bolt-01. Digital image. Rosboro.com. Rosboro, n.d. Web. 22 Jan. 2015. <http://www.rosboro.com/userfiles/X-Beam-Bolt-01-p.jpg>.

14 Hurley, J. W. Deconstruction and Reuse of Construction Materials. Watford: BRE, 2001. Print 15 Coventry, S., C. Woolveridge, and S. Hillier. “The Reclaimed and Recycled Construction Materials Handbook.” DETR C513 (1999): 170. Ihsti.

CIRIA. Web. 17 Jan. 2015. <Coventry, S., C. Woolveridge, and S. Hillier. “The Reclaimed and Recycled Construction Materials Handbook.” CIRIA C513 (1999): 170. Ihsti. Web. 17 Jan. 2015.

16 Ibid.

17 CIRIA. “Principles of Design for Deconstruction to Facilitate Reuse and Recycling.” Ihsti. CIRIA, n.d. Web. 17 Jan. 2015. <http://products.ihs.com/cis/ Doc.aspx?DocNum=267729>.

18 AZO Materials. “Polycarbonate (PC) (C15H16O2) Plastic Recycling.”Polycarbonate (PC) (C15H16O2) Plastic Recycling. AZO Materials, 11 June 2013. Web. 17 Jan. 2015. <http://www.azom.com/article.aspx?ArticleID=7963#6>.

19 Coventry, S., C. Woolveridge, and S. Hillier. “The Reclaimed and Recycled Construction Materials Handbook.” DETR C513 (1999): 170. Ihsti.

CIRIA. Web. 17 Jan. 2015. <Coventry, S., C. Woolveridge, and S. Hillier. “The Reclaimed and Recycled Construction Materials Handbook.” CIRIA C513 (1999): 170. Ihsti. Web. 17 Jan. 2015.

This is why Greencast ® Acrylic was chosen instead of the polycarbonate sheets, which can be recycled indefinitely without a loss of clarity and quality.20

D. MATERIAL VALUE When materials were chosen for the pavilion units, most were chosen carefully to ensure that they are durable and come from a sustainable source.

The majority of the materials used in the pavilion is timber, which comes from a renewable source.21 Recycled Marine Plywood was chosen for its reuse value, as it is a durable timber that has water-resistant properties in addition to the fact that because it is recycled, less raw materials are consumed and its overall cost it less22. Plywood in general, can return to its original size when dry after being wet. 23 Marine plywood is manufactured from ordinary plywood and glued using waterproof glue to achieve its “marine” status. 24 Plywood used for the Marine boards in my design will be sourced and recycled locally25 to reduce material and transportation cost as well as to reduce carbon emissions from transportation. By having it recycled, the cost of production is reduced and carbon emissions are reduced because raw materials will not need to be transported to be produced.

Glulam timber frames were chosen for their structural strength in addition to their water-resistant properties, making them ideal for outdoor use during rainy days.26 In addition to that, Glulam is a readily available material in the United Kingdom, making it an economic structural material.27 Initially, Polycarbonate was chosen in the original design as a transparent material for its lightweightedness, resillience, and impact resistance, making it a durable material that is suitable for outdoor use.28 It is however important to note that Polycarbonate is usually used as landfill rather than being recycled due to its difficulty in recycling. Because it is made from petroleum, Polycarbonate is non-biodegradable material making it harmful to the environment if used as landfill. 29 As a result, Greencast ® Acrylic was chosen in the revamped design as it is a recycled plastic with the same resilience and impact resistance as polycarbonate in addition to it being readily available within the United Kingdom, the Greencast ® Acrylic will be recycled locally.30

FIGURE B-3

FIGURE C-1

FIGURE B-5

FIGURE C-2

BIBLIOGRAPHY Addis, W., and J. Schouten. “Principles of Design for Deconstruction to Facilitate Reuse and Recycling.” Ihsti (2004): 33-98. The Construction Information Service -. CIRIA. Web. 18 Jan. 2015. <http://www.ihsti.com/CIS/Doc. aspx?AuthCode=5DD438&DocNum=267729&from=/CIS/Search.aspx?AuthCode=5DD438&fs=0_doc_Type_False_ AND&t=Principles+of+design+for+deconstruction+to+facilitate+reuse+and+recycling&pt=s&st=0&t=Principles of design for deconstruction to facilitate reuse and recycling&pt=s&type=>.

AMARI Plastics PLC. “Greencast Technical Information.” Acrylic Sheet - Greencast ® from Amari Plastics Protecting Your Future (n.d.): n. pag. AMARI Plastic. AMARI Plastic, 8 May 2014. Web. 19 Jan. 2015. <http://www. amariplastics.com/amariplastics/greencast_techbrochure.pdf>.

APA. “Glulam- Product Guide.” Resource.org. APA, n.d. Web. 178 Jan. 2015. <https://law.resource.org/ pub/us/code/bsc.ca.gov/sibr/org.apawood.X440.pdf>.

AZO Materials. “Polycarbonate (PC) (C15H16O2) Plastic Recycling.” Polycarbonate (PC) (C15H16O2) Plastic Recycling. AZO Materials, 11 June 2013. Web. 17 Jan. 2015. <http://www.azom.com/article.aspx?ArticleID=7963#6>.

Buckland Timber. “How Glulam Is Made.” Buckland Timber. Buckland Timber, n.d. Web. 17 Jan. 2015.

Charmed By Wine. 08-03-17-20-39.jpg. Digital image. Charmed By Wine. Charmed By Wine, 3 Aug. 2012.

Web. 22 Jan. 2015. <https://charmedbywine.files.wordpress.com/2013/02/2012-08-03-17-20-39.jpg>.

Christine DeMerchant. “MARINE PLYWOOD STANDARDS.” Marine Plywood Grades and Specifications. Christine DeMerchant, n.d. Web. 20 Jan. 2015. <http://www.christinedemerchant.com/marine_plywood_grades.html>.

CIRIA. “Principles of Design for Deconstruction to Facilitate Reuse and Recycling.” Ihsti. CIRIA, n.d. Web. 17 Jan. 2015. <http://products.ihs.com/cis/Doc.aspx?DocNum=267729>.

Coventry, S., C. Woolveridge, and S. Hillier. “The Reclaimed and Recycled Construction Materials Handbook.”

DETR C513 (1999): 170. Ihsti. CIRIA. Web. 17 Jan. 2015. <Coventry, S., C. Woolveridge, and S. Hillier. “The Reclaimed and Recycled Construction Materials Handbook.” CIRIA C513 (1999): 170. Ihsti. Web. 17 Jan. 2015. .>.

Glass and Glazing Federation. “Plastics Glazing Sheet Materials - Basic Products.” Ihsti Glazing Manual Data Sheet 1.1.2 (2000): n. pag. Ihsti. Glass and Glazing Federation, 2000. Web. 17 Jan. 15.

Glued Laminated Timber Association. “Glulam-Specifiers Guide.” Eximcorp. Glued Laminated Timber Association, n.d. Web. 17 Jan. 2015. <http://www.eximcorp.co.in/images/products/glulam/glulam-specifiers-guide.pdf>.

Hurley, J. W. Deconstruction and Reuse of Construction Materials. Watford: BRE, 2001. Print.

N55 Small Truck. Digital image. Tiny House Talk. N.p., n.d. Web. <http://tinyhousetalk.com/wp-content/uploads/small-bicycle-truck-micro-kitchen.jpg>.

2015.

“Plywood Handbook.” The Construction Information Service -. Council of Forest Industries, n.d. Web. 17 Jan.

Rosboro. Beam-Bolt-01. Digital image. Rosboro.com. Rosboro, n.d. Web. 22 Jan. 2015. <http://www.rosboro.com/userfiles/X-Beam-Bolt-01-p.jpg>.

Siegal, Jennifer. More Mobile: Portable Architecture for Today. New York: Princeton Architectural, 2008. Print.

20 AMARI Plastics PLC. “Greencast Technical Information.” Acrylic Sheet - Greencast ® from Amari Plastics Protecting Your Future (n.d.): n. pag. AMARI Plastic. AMARI Plastic, 8 May 2014. Web. 19 Jan. 2015. <http://www.amariplastics.com/amariplastics/greencast_techbrochure.pdf>.

21 Glued Laminated Timber Association. “Glulam-Specifiers Guide.” Eximcorp. Glued Laminated Timber Association, n.d. Web. 17 Jan. 2015. <http://www.eximcorp.co.in/images/products/glulam/glulam-specifiers-guide.pdf>.

22 CIRIA. “Principles of Design for Deconstruction to Facilitate Reuse and Recycling.” Ihsti. CIRIA, n.d. Web. 17 Jan. 2015. <http://products.ihs. com/cis/Doc.aspx?DocNum=267729>.

23 CIRIA. “Principles of Design for Deconstruction to Facilitate Reuse and Recycling.” Ihsti. CIRIA, n.d. Web. 17 Jan. 2015. <http://products.ihs. com/cis/Doc.aspx?DocNum=267729>.

24 Christine DeMerchant. “MARINE PLYWOOD STANDARDS.” Marine Plywood Grades and Specifications. Christine DeMerchant, n.d. Web. 20 Jan. 2015. <http://www.christinedemerchant.com/marine_plywood_grades.html>.

25 Ibid.

26 Trada. “Glued Laminated Timber.” Wood Information Sheet 1/ 6 (2003): 1-8. Ihsti. Trada Techonology, 2003. Web. 17 Jan. 2015.

27 APA. “Glulam- Product Guide.” Resource.org. APA, n.d. Web. 178 Jan. 2015. <https://law.resource.org/pub/us/code/bsc.ca.gov/sibr/org. apawood.X440.pdf>.

28 AZO Materials. “Polycarbonate (PC) (C15H16O2) Plastic Recycling.”Polycarbonate (PC) (C15H16O2) Plastic Recycling. AZO Materials, 11 June 2013. Web. 17 Jan. 2015. <http://www.azom.com/article.aspx?ArticleID=7963#6>.

29 Ibid.

30 AMARI Plastics PLC. “Greencast Technical Information.” Acrylic Sheet - Greencast ® from Amari Plastics Protecting Your Future (n.d.): n. pag. AMARI Plastic. AMARI Plastic, 8 May 2014. Web. 19 Jan. 2015. <http://www.amariplastics.com/amariplastics/greencast_techbrochure.pdf>.

Swedish Finnish Timber Council. Principles of Timber Framed Construction: A Guide to the Use of Swedish and Finnish Redwood and Whitewood in Timber Framed Dwellings. Retford, Notts.: Swedish Finnish Timber Council, 1979.

Print.

Trada. “Glued Laminated Timber.” Wood Information Sheet 1/ 6 (2003): 1-8. Ihsti. Trada Techonology, 2003.

Web. 17 Jan. 2015.

White Limousine Yatai. Digital image. Echigo-Tsumari. N.p., n.d. Web. <http://www.echigo-tsumari.jp/uploads/sized/uploads/artwork/T042_Anzai_web-940x470.jpg>.

ARC3013: ARCHITECTURAL TECHNOLOGY COURSEWORK

99

100

A

R

٦

C

3

0

4

0

PROFESSIONA L PRA CTICE A N D MA NA G EM ENT C

O

U

R

S

E

W

O

R

K

101

Mid-year practical experience during Part 1 studies Name: B2047707 General Information Dates of Experience

26/01/2015 â&#x20AC;&#x201C; 13/03/2015

Category of Experience

(i)

Experience of architectural practice in the UK, EEA, Channel Islands or Isle of Man, under the direct supervision of an architect either registered with the Architects Registration Board or registered within the territory where the experience is being undertaken.

Experience Level

Stage 1

Location

Newcastle Upon Tyne

School of Architecture/Monitoring Institution Professional Studies Advisor

School of Architecture, Planning, and Landscape, Newcastle University.

PSA's Email

john.kamara@ncl.ac.uk

PSA's Phone No

0191 208 8619

Placement Provider

School of Architecture, Planning, and Landscape, Newcastle University.

Placement Address

Placement Phone No

School of Architecture, Planning, and Landscape, Newcastle University, Newcastle Upon Tyne, NE1 5JQ 01912225831

Placement Website

www.ncl.ac.uk/apl

Student's Phone No

07 123 456 789

Student's Email

B2047707@newcastle.ac.uk

John Kamara

Brief Description of Placement Provider

Employment Mentor

Josep Maria-Garcia Fuentes & Sam Clark

Mentor's Profession

Architects

Membership of Professional Bodies

RIBA/ARB

Registration Number Mentor's Email

josep.garciafuentes@newcastle.ac.uk/s.clark4@newcastle.ac.uk

Mentor's Phone No

Project Name

Building on What is Already Built: Grainger Market

Project Description

The initial phase of this project was a group effort in which we were to study and survey the Grainger Market to create a base for ourselves to work with in terms of design as well as develop an understanding of the building in order to design an intervention that would revamp the market while allowing for elderly housing to be accommodated in the changes made.

The elderly house is to be founded by a private care and nursing organization that would like to provide the tenants of the house with a vibrant and central location in the middle of town with close proximity and ease of access to transportation, food items, and other amenities. The revamped market would continue to be run by the Newcastleâ&#x20AC;&#x2122;s city council.

102

ARC3014: PROFESSIONAL PRACTICE AND MANAGEMENT COURSEWORK

The site for this project is the Grainger Market itself w iichs a Grade I listed building1 with an area of 11,859m2 and a perimeter of 440m.

The method of procurement for this project will be through a competitive basis in which a traditional contract will be utilized. Design decisions will be determined by the lead consultant. A lump tender is to be instilled to ensure that responsibility and risk is equally divided between the consultant and contractor.

The building as previously mentioned, is to be an elderly house. It will host a multitude of functions and activities for the occupants to engage themselves with such as the inclusion of an art room as well as provide the opportunity for them to engage with the public. An example of that would be to display the artwork made by the tenants in areas connected to the market.

The Grainger Market’s intervention is currently at Stage 2 of the RIBA’s Plan of Work and the design is continually being developed to reach a highly refined level of standard.

Project Tasks

The first phase of the project involved me working with other group members to survey the Grainger Market and produce AutoCAD drawings of the entire building that would later be used as a basis for our designs. The surveying phase proved to be quite challenging as it was difficult to coordinate the different drawings of the market and get them to match up. The survey allowed for me to develop my ability to communicate and work with a team and understand the process of measuring existing buildings accurately. During this phase, I produced many measured drawings and diagrams that communicated the market’s functions and identity as well produce presentation standard conceptual collages through Adobe Photoshop.

The second phases of the project involved me visiting the Grainger Market on countless occasions to understand it as a whole in order to develop my individual design. I produced conceptual diagrams representing the intervention I had in mind in relation to the studies I made during my visits. Those diagrams would later translate into AutoCAD drawings based on the survey drawings made in the first phase with more modifications being made to them in order for the drawings to relate to my approach. I feel as though my drawing speed and representational methods improved tenfold; working on a building of such a large scale forced me to learning shortcuts and techniques in AutoCAD that would reduce the time spent in producing the drawings as well as develop a way of representing the changes being made to the market versus that which already exists that would lead to extremely communicative plans, sections, and elevations.

Work Stages

Hours as participant

Hours as observer

0 Strategic Definition

70

2

1 Preparation & Brief

86.5

4

2 Concept Design

129.5

4

3 Developed Design 4 Technical Design 5 Construction 6 Handover and Close Out 7 In Use Totals

1

TW Museums. "Richard Grainger's Vision for Grey Street, Newcastle | Tyne & Wear Archives & Museums Blog." Tyne Wear Archives Museums Blog. Tyne and Wear Archives and Museums, 28 Mar. 2012. Web. 10 Mar. 2015. <http://www.twmuseums.org.uk/engage/blog/richard-graingers-vision-for-greystreet-newcastle/>.

ARC3014: PROFESSIONAL PRACTICE AND MANAGEMENT COURSEWORK

103

Hours as Participant

Hours as Observer

Total

0 Strategic Definition

70

2

72

1 Preparation & Brief

86.5

4

90.5

2 Concept Design

129.5

4

133.5

3 Developed Design 4 Technical Design 5 Construction 6 Handover and Close Out 7 In Use Other (please specify) Totals

296

Activities â&#x20AC;&#x201C; non-project related Task

Hours completed

Description

1

Time spent filling in hours spent over the course of the project.

8

ARC 3001- Weekly lectures aimed at discussing the situation of

Office Management Time Sheets Lectures Architectural Design

projects as well as providing some inspiration to students through the discussion of certain architectural elements and precedents.

Principles and Theories of Architecture

10

ARC 3015- Weekly lectures that discuss architectural representation through various media.

Professional Practice and Management

20

ARC 3014- Bi-weekly lectures regarding professional practice and management in architecture given by various speakers.

General Coursework

35

Site Visits

6

Totals

Task performance and learning during this period of experience The first phase of the project was both interesting and challenging at the same time, surveying a large building and in segments with a large group of colleagues forced me into a situation out of my comfort zone with the need to produce large scale drawings that would need to match up with one another. It lead me to collaborating with colleagues I thought I never would work with as well as compromise on certain elements to create the most accurate drawings possible. I feel like the survey task helped me gain valuable experience and skills that could be put into use in real life work situations with teammates.

104

ARC3014: PROFESSIONAL PRACTICE AND MANAGEMENT COURSEWORK

The second and current phase, which is to design an intervention and an elderly house took me further out of my comfort zone by forcing me to come up with my own brief and spatial allocations. As a result I ended up doing extensive research on elderly housing to develop a better understanding of the needs of the elderly in order to produce an effective brief.

Personal development & role performance evaluation It was interesting to work with a team on a longer-term basis that shared the same level of experience that I have. There was a multitude of challenges and conflicts relating to the work ethic and attendance of certain group members, though most of them were able to be resolved. For the most part, we managed to work well together as well as resolve issues and uncertainties. I feel as though I worked well with the team, by being able to communicate my views on the market as well listen to those of my teammates and compromise with them on the dimensions of the marketâ&#x20AC;&#x2122;s certain elements. Additionally, I felt as though my skills in AutoCAD and Photoshop were being put into use and were developing with every iteration of the drawings we made. I learned a few skills through accidents I made in the drawing process as well as some from my teammates.

I found the second phase of the project to be challenging when it came to designing the elderly house due to my indecisive nature in allocating spaces. Coming up with a brief only made things more difficult, however these issues were tackled after extensively studying the layouts of various elderly houses online. By embracing my indecisive nature, I have developed the ability to criticize my decisions better, and consequently make decisions more confidently and efficiently. The second phase of the project also forced me to develop my own personal representational language in drawings and models that would show what is being added and removed to the market against what already exists.

Aims for next period of experience I aim to develop my concepts further as well as come up with extremely efficient spatial layouts for the elderly housing with fully resolved circulation and connections between different levels of height and privacy. I intend to fully resolve the project as soon as possible to ensure that it is successful and make time for convincing presentation and representational motifs of the highest standard.

I have realized that I tend to work for longer periods of time due to overproducing work that often does not add to my designâ&#x20AC;&#x2122;s concept or method of communication and I hope to spend less time on work that will not help my design grow and more on work that will Further skills needed and actions to take to achieve aims In order to come up with a fully resolved design, I need to have a better and faster approach to making decisions and laying spaces out. I would like to make decisions faster without needing to produce more options by having effective ones from the start.

To make sure I make enough progress, I need to consult and discuss my design with course mates and my mentor to get different views that would help me fine tune certain elements and details. The only thing stopping me from doing so is my fear of distracting them from their own work, though I realize that sometimes I need to be more assertive in such situations and simply ask.

Additional student comments, support required from placement provider I found all lectures to be quite beneficial, especially the design lectures where I have constantly been getting inspired by the revelation of different precedents and design approaches, some of which I have started to study and apply into my own work. By doing so, I feel as though my design has started to develop a sense of vibrancy that I thirst for in my work.

The site visits I had helped me learn a lot more about the Grainger Market and its unnoticeably varying spatial and architectural features by studying each façade and entrance. This ultimately helped me open my eyes and see where the market has been modified over the years and where it has been left in its original state.

I confirm that I have worked in the above office between the dates stated and that the description of project details, tasks undertaken and learning achieved is accurate.

Signature: B2047707

Date: 13/3/2014

ARC3014: PROFESSIONAL PRACTICE AND MANAGEMENT COURSEWORK

105

Obtaining Planning Permission for an Intervention and Elderly House in the Grainger Market, Newcastle Upon Tyne.

Planning is a dynamic discipline in which various legislations and laws have been applied and modified. It is everchanging as the laws and legislations involved will continue to change as time progresses. Planning is defined as “the statutory mechanism by which the development of land is managed in the public interest” in the RIBA Good Practice 2 Guide: Negotiating the Planning Maze. Recently, stronger emphasis has been placed on planning as medium for 3 achieving sustainable development.

Planning policy works within a structure of hierarchal nature, with the main statutory authority being the Central 45 Government which works on a national level . The legislation of Planning changes regularly; in 2012, the Government adopted the NPPF (National Planning Policy Framework.) Former policies such as the Planning and Compulsory Purchase Act of 2004 and the Planning Act of 2008 have been replaced by the NPPF which has also built 6 on the recent Localism Act of 2011.

The NPPF provides information on the planning policies of the Government for the entirety of England and more importantly a basis for the application of local level planning policy, which is applied through LPAs (Local Planning 7 Authorities.) LPAs must produce a Local Plan using the NPPF as a guideline, which would serve as their statutory 8 development plan, replacing the former LDF (Local Development Framework.) To obtain planning permission for the intended intervention and elderly housing in the Grainger Market, the criteria within the LPA’s Local Plan must be adhered to, which in this case are those of the Newcastle City Council.

Currently, Newcastle City Council’s Local Plan is comprised of planning policies and core strategies that are mostly 9 shared with Gateshead’s City Council. By 2017, the council aims to have applied the LDS (Local Development Scheme) which consists of the council’s Local Plan and Regeneration Scheme which focuses on several parts of 10 11 12 In order to obtain planning permission for the intervention Newcastle, namely, Cowgate and East Pilgrim Street. and elderly house through reasonable means, the Local Plan must be analysed along with any associated documents.

Because the site of the intervention and elderly house is the Grainger Market, a Grade I listed building, multiple planning applications must be made to achieve planning permission. The application would have to be made for 13 14 which has several variations, all of which must be applied for. They are: Demolition, Listed Building Consent 2

Collins, John F. N., and Philip Moren. Good Practice Guide: Negotiating the Planning Maze. London: RIBA, 2009. Print.

Department for Communities and Local Government. The National Planning Policy Framework: Eighth Report of Session 2010-12.

London: Stationery Office, 2011. Gov.uk. Department for Communities and Local Government, Mar. 2012. Web. 11 Mar. 2015. <https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/6077/2116950.pdf>.

4 Collins, John F. N., and Philip Moren. Good Practice Guide: Negotiating the Planning Maze. London: RIBA, 2009. Print.

5 Department for Communities and Local Government. Using Victoria's Planning System. Melbourne: Dept. of Infrastructure, State Government of Victoria, 2001. Gov.uk. Department for Communities and Local Government, Jan. 2015. Web. 11 Mar. 2015. <https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/391694/Plain_English_guide_to_the_planning_s ystem.pdf>.

6 Ibid.

7 Ibid.

8 Ibid.

9 Newcastle City Council. "Core Strategy and Urban Core Plan." Core Strategy and Urban Core Plan. Newcastle City Council, 6 Mar. 2015. Web. 11 Mar. 2015. <http://www.newcastle.gov.uk/planning-and-buildings/planning-policy/core-strategy-and-urban-coreplan>.

10 Newcastle City Council. "Regeneration." Regeneration. Newcastle City Council, 3 Mar. 2015. Web. 11 Mar. 2015. <http://www.newcastle.gov.uk/planning-and-buildings/regeneration>.

11 Newcastle City Council. Local Development Framework. S.l.: Broads Authority, 2005. Newcastle City Council. Newcastle City Council, Jan. 2013. Web. 11 Mar. 2015. <http://www.newcastle.gov.uk/sites/drupalncc.newcastle.gov.uk/files/wwwfileroot/planningand-buildings/planning/amr_2010-12_final.pdf>.

12 Revised, V5, and December 201. Local Development Scheme 2013 - 2017 (n.d.): n. pag. Newcastle City Council. Newcastle City Council, Dec. 2013. Web. 11 Mar. 2015. <http://www.newcastle.gov.uk/sites/drupalncc.newcastle.gov.uk/files/wwwfileroot/planningand-buildings/planning-policy/final_ncl_lds_2013-17.pdf>.

13 Newcastle City Council, Gateshead Council, North Tyneside Council, South Tyneside Council, and Sunderland City Council.

"Validation of Planning Applications in Tyne and Wear - 2013." Validation of Planning Applications in Tyne and Wear - 2013 (n.d.): n. pag. Newcastle City Council. Newcastle City Council, June 2013. Web. 11 Mar. 2015. <http://www.newcastle.gov.uk/sites/drupalncc.newcastle.gov.uk/files/wwwfileroot/planning-andbuildings/planning/validation_doc_2013final_version__3_.pdf>.

14 Newcastle City Council. "Listed Building Consent (LBC)." Listed Building Consent (LBC). Newcastle City Council, 16 Mar. 2012.

Web. 12 Mar. 2015. <https://www.newcastle.gov.uk/planning-and-buildings/conservation-heritage-and-urban-design/listedbuildings/listed-building-consent-lbc-> 3

106

ARC3014: PROFESSIONAL PRACTICE AND MANAGEMENT COURSEWORK

15

Extension, and Refurbishment Consent. In addition to the application forms, the inclusion of Heritage Statements, which describe the significance of any heritage assests affected, including any contribution made by their setting, is 16 necessary. Also, a schedule of works to the listed building along with an analysis of the impact made by the changes on character, history, and architecture, of the building must be included with photographs showing the elements 17 being modified. In addition to that, technical drawings in a scale of 1:20 and detailed drawings in a scale of 1:5 showing portions that will change must be included along with a detailed specification of all the materials being 18 proposed with a photomontage illustrating the proposed idea in context. In the case of the applications, there is a possibility that additional documents may be required and so the City Council would have to be contacted to discuss 19 further matters.

Having informal talks with the local community would prove to be beneficial in addition to consultations with the Conservation Officer of the City Council in order to cater better to the guidelines in the City Council’s website and 20 documents. The Newcastle City Council’s website provides all the necessary information, documents, checklists, and 21 guidelines. Additionally, applications can be submitted either in paper format or digitally through the council’s 22 planning portal.

Newcastle City Council’s Local Development Framework states in Section 4 that “The city is unable to demonstrate an 23 adequate housing land supply for the first five years (the most important period) of the projections” so by adding elderly housing, more housing is technically provided thus contributing to solving the shortage of accommodation in the city and aims of the city’s Core Strategy. This will hopefully aid in obtaining planning permission.

The interference with listed buildings has been mentioned in the city council’s Local Development Framework where extensive changes and demolition were heavily discouraged with the exception of refurbishment or in the case of 24 having a valid justification for making changes to the building. Grainger Town and indeed the Grainger Market is 25 marked in the UDP (Unitary Development Plan) as a refurbishment zone. As such, getting the chances of getting planning permission would be higher if the alterations and changes to the building were kept to a minimum.

Therefore the addition of the elderly house and building intervention to the Grainger Market would have to be considered carefully.

The intervention and elderly house extension I plan to have included into the Grainger Market seeks to include green 26 spaces for environmental and recreational purposes that should help deliver both H4 and EN3.4 in the core strategy.

By doing so, this will hopefully bring along improvements to the quality of both the townscape of Newcastle or more specifically Grainger Town and the Grainger Market as well aid in the cause for achieving planning permission.

27 Additionally, C1 in the framework states that “City’s built heritage will be preserved, protected and restored.” My 15

Department of the Environment, Transport and the Regions. Planning and the Historic Environment. London: H.M.S.O., 1994.

IHSTI. Department of National Heritage, Sept. 2005. Web. 11 Mar. 2015. <http://www.ihsti.com/tempimg/1283F87CIS888614800085651.pdf>.

16 Newcastle City Council, Gateshead Council, North Tyneside Council, South Tyneside Council, and Sunderland City Council.

"Validation of Planning Applications in Tyne and Wear - 2013." Validation of Planning Applications in Tyne and Wear - 2013 (n.d.): n. pag. Newcastle City Council. Newcastle City Council, June 2013. Web. 11 Mar. 2015. <http://www.newcastle.gov.uk/sites/drupalncc.newcastle.gov.uk/files/wwwfileroot/planning-andbuildings/planning/validation_doc_2013final_version__3_.pdf>.

17 Ibid.

18 Ibid.

19 Ibid.

20 Ibid.

21 Ibid.

22 Newcastle City Council. "Applications Forms, Checklists and Guidance Notes." Newcastle City Council. Newcastle City Council, 13 Jan. 2015. Web. 11 Mar. 2015. <http%3A%2F%2Fwww.newcastle.gov.uk%2Fplanning-and-buildings%2Fplanningapplications%2Fapply-for-planning-permission%2Fapplications-forms-checklists-and-guidance-notes>.

23 Newcastle City Council. Local Development Framework. S.l.: Broads Authority, 2005. Newcastle City Council. Newcastle City Council, Jan. 2013. Web. 11 Mar. 2015. <http://www.newcastle.gov.uk/sites/drupalncc.newcastle.gov.uk/files/wwwfileroot/planningand-buildings/planning/amr_2010-12_final.pdf>.

24 Ibid.

25 Newcastle City Council. "Unitary Development Plan." Unitary Development Plan. Newcastle City Council, 24 Mar. 2014. Web. 12 Mar. 2015. <http://www.newcastle.gov.uk/planning-and-buildings/planning-policy/unitary-development-plan-udp-1998>.

26 Newcastle City Council. Local Development Framework. S.l.: Broads Authority, 2005. Newcastle City Council. Newcastle City Council, Jan. 2013. Web. 11 Mar. 2015. <http://www.newcastle.gov.uk/sites/drupalncc.newcastle.gov.uk/files/wwwfileroot/planningand-buildings/planning/amr_2010-12_final.pdf>.

27 Ibid.

ARC3014: PROFESSIONAL PRACTICE AND MANAGEMENT COURSEWORK

107

design and intervention only aim to work with C1 where most elements will be preserved and restored with the exception of the addition of another storey which will be hidden from street view as to not affect the overall external 28 appearance of the Grainger Market, which may lead to an exemption for applying for extension consent and a higher chance of obtaining planning permission.

It is essential to be aware of all documents relating to local planning policy, as the aims of an areaâ&#x20AC;&#x2122;s Core Strategy that could be met by planning applications are more likely to gain permission. This report has attempted to show the possibilities of gaining planning permission by aiming to satisfy the local requirements. To ensure that the application successfully gains permission though, many other factors must be considered.

Word count: 1008

28

108

Collins, John F. N., and Philip Moren. Good Practice Guide: Negotiating the Planning Maze. London: RIBA, 2009. Print.

ARC3014: PROFESSIONAL PRACTICE AND MANAGEMENT COURSEWORK

Bibliography Collins, John F. N., and Philip Moren. Good Practice Guide: Negotiating the Planning Maze. London: RIBA, 2009. Print.

Department for Communities and Local Government. The National Planning Policy Framework: Eighth Report of Session 2010-12. London: Stationery Office, 2011. Gov.uk. Department for Communities and Local Government, Mar. 2012. Web. 11 Mar. 2015. <https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/6077/2116950.pdf>.

Department for Communities and Local Government. Using Victoria's Planning System. Melbourne: Dept. of Infrastructure, State Government of Victoria, 2001. Gov.uk. Department for Communities and Local Government, Jan. 2015. Web. 11 Mar. 2015. <https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/391694/Plain_Englis h_guide_to_the_planning_system.pdf>.

Department of the Environment, Transport and the Regions. Planning and the Historic Environment. London: H.M.S.O., 1994. IHSTI. Department of National Heritage, Sept. 2005. Web. 11 Mar. 2015. <http://www.ihsti.com/tempimg/1283F87-CIS888614800085651.pdf>.

Newcastle City Council. "Applications Forms, Checklists and Guidance Notes." Newcastle City Council. Newcastle City Council, 13 Jan. 2015. Web. 11 Mar. 2015. <http%3A%2F%2Fwww.newcastle.gov.uk%2Fplanning-andbuildings%2Fplanning-applications%2Fapply-for-planning-permission%2Fapplications-forms-checklistsand-guidance-notes>.

Newcastle City Council. "Core Strategy and Urban Core Plan." Core Strategy and Urban Core Plan. Newcastle City Council, 6 Mar. 2015. Web. 11 Mar. 2015. <http://www.newcastle.gov.uk/planning-andbuildings/planning-policy/core-strategy-and-urban-core-plan>.

Newcastle City Council, Gateshead Council, North Tyneside Council, South Tyneside Council, and Sunderland City Council. "Validation of Planning Applications in Tyne and Wear - 2013." Validation of Planning Applications in Tyne and Wear - 2013 (n.d.): n. pag. Newcastle City Council. Newcastle City Council, June 2013. Web. 11 Mar. 2015. <http://www.newcastle.gov.uk/sites/drupalncc.newcastle.gov.uk/files/wwwfileroot/planning-andbuildings/planning/validation_doc_2013final_version__3_.pdf>.

Newcastle City Council. "Listed Building Consent (LBC)." Listed Building Consent (LBC). Newcastle City Council, 16 Mar. 2012. Web. 12 Mar. 2015. <https://www.newcastle.gov.uk/planning-and-buildings/conservationheritage-and-urban-design/listed-buildings/listed-building-consent-lbc->.

Newcastle City Council. Local Development Framework. S.l.: Broads Authority, 2005. Newcastle City Council.

Newcastle City Council, Jan. 2013. Web. 11 Mar. 2015. <http://www.newcastle.gov.uk/sites/drupalncc.newcastle.gov.uk/files/wwwfileroot/planning-andbuildings/planning/amr_2010-12_final.pdf>.

Newcastle City Council. "Regeneration." Regeneration. Newcastle City Council, 3 Mar. 2015. Web. 11 Mar. 2015. <http://www.newcastle.gov.uk/planning-and-buildings/regeneration>.

Newcastle City Council. "Unitary Development Plan." Unitary Development Plan. Newcastle City Council, 24 Mar. 2014. Web. 12 Mar. 2015. <http://www.newcastle.gov.uk/planning-and-buildings/planningpolicy/unitary-development-plan-udp-1998>.

Revised, V5, and December 201. Local Development Scheme 2013 - 2017 (n.d.): n. pag. Newcastle City Council.

Newcastle City Council, Dec. 2013. Web. 11 Mar. 2015. <http://www.newcastle.gov.uk/sites/drupalncc.newcastle.gov.uk/files/wwwfileroot/planning-andbuildings/planning-policy/final_ncl_lds_2013-17.pdf>.

ARC3014: PROFESSIONAL PRACTICE AND MANAGEMENT COURSEWORK

109

TW Museums. "Richard Grainger's Vision for Grey Street, Newcastle | Tyne & Wear Archives & Museums Blog." Tyne Wear Archives Museums Blog. Tyne and Wear Archives and Museums, 28 Mar. 2012. Web. 10 Mar. 2015. <http://www.twmuseums.org.uk/engage/blog/richard-graingers-vision-for-grey-street-newcastle/>.

110

ARC3014: PROFESSIONAL PRACTICE AND MANAGEMENT COURSEWORK

A

R

٧

C

3

0

5

0

PRINCIPLES A ND THEORIES OF A RCHIT ECT URE C

O

U

R

S

E

W

O

R

K

111

ARC 3015: PRINCIPLES AND THEORIES OF ARCHITECTURE COURSEWORK Adel Kamashki-Stage 3 Architecture-B2047707 DESIGN & ISSUES DEALT WITH My design project, Building on What is Already Built involves extending and renovating the Grade I listed1 Grainger Market. For my design, I have attempted to approach the market with volumetrically clean cuts that break the building’s monotony. An overtly minimalistic design approach was taken based on Van Der Rohe’s quote “Less is more.”2 As such, ornamentation is forsaken in my extension in favor for clean geometrical forms.

within the Grainger Market, by playing with floor levels in the alleyways, an implied spatial separation is created, which may compel shop-owners to cluster together and create a more organized layout resembling that of a supermarket.

My design is heavily based around the issues of the Grainger Market and aims to engage with its existing facades and replace certain elements of it such as the shopfronts and entrance blocks to create more dynamic elevations with a stronger sense of outsideinside relationships, something which is nonexisistent in the current market. The shopfronts would have revolving doors on the streetsides as well the on the inside, in order to open up to the Grainger Market and adjacent streets to bring the inside of the market out and the outside of the market in.

Additionally, my design also engages with the market’s roofscape, replacing its opaque, pitched roofs with glazing to allow for maximum daylight access which the market lacks. By providing more daylight, the Grainger Market’s interior starts to resemble a shopping mall.

Another issue my design tackles is the disorganized placement of shop functions 1 NewcastleGateshead Initiative. “Grainger Market.”

- Covered Market/Market Hall in Newcastle upon Tyne, Newcastle upon Tyne. NewcastleGateshead Initiative, n.d.

Web. 08 Apr. 2015. <http://www.newcastlegateshead. com/shopping/grainger-market-p433811>.

2 Martin, Gary. “The Meaning and Origin of

the Expression: Less Is More.” Less Is More. The Phrase Finder, n.d. Web. 08 Apr. 2015. <http://www.phrases.org.uk/meanings/226400.html>.

REFERENCES My design work is heavily inspired by Mies Van Der Rohe, Steven Holl, and Arrhov Frick.

These architects have reflected volumetric, functional, and atmospheric aspects of my design.

IMAGES Top3: Grainger Market’s interior. Note the lack of daylight and use of artificial lighting.

Bottom: A quick render showing the changes being made to the Market.

3 All About Eats. Grainger Market. Digital image. All About Eats.

Wordpress, 24 Jan. 2015. Web. 8 Apr. 2015. <https://allabouteatsblog. files.wordpress.com/2015/01/photo-3-4.jpg>.

Concrete and Glass House where people outside could look into some of the cantilevers above the entrances and find vegetation within, almost like a greenhouse.

To me, Mies Van Der Rohe is my architectural hero. I tend to stick to rectilinear forms in design as a result of being enamored by his work and hoping to design something similar.

His Seagram Building was a key influence in my addition to the Grainger Market’s entrances volumetrically, where they were replaced with a glazed, steel framed structure that cantilevers to draw people in to the market. Van Der Rohe’s Farnsworth House was another key influence to my design. A strong visual connection is present between the interior of the house and the world outside. I aimed to capture this connection and intensify it by having the Grainger Market’s shopfronts open up to the streets and the market itself, this would not only allow for a visual connection, but also a physical one.

The way the shopfronts would open to the adjacent streets and the Grainger Market was influenced by Steven Holl’s shopfront for art and architecture, where revolving doors would completely close off the shopfronts or open them up to the streets, thus blurring the boundary between the two. I decided to have this revolving motion make its way up to the glazed cantilevering spaces, where opaque panels of green walls or remnants from the existing building would be slid across the glazed front or revolved to allow for ventilation or watering the green wall panels.

Arrhov Frick’s Concrete and Glass House emphasized connection to nature by using glazing to frame the view of the surrounding nature. This was another form of inside-outside connection, however nature was added to the equation. The streets surrounding the Grainger Market have no vegetation and so the connection of the world inside to nature outside could not be achieved directly and so I opted to have nature inside. This was basically the inverse of the condition of the

112

KEY Clockwise: 1.

2.

3.

4.

Seagram Building by Mies Van Der Rohe4 Concrete and Glass House by Arrhov Frick5 Shopfronts for Art and Architecture by Steven Holl6 Farnsworth House by Mies Van Der Rohe7

4 Horsley, Carter B. Seagram2.gif. Digital image. The Midtown Book. The City Review, n.d. Web. 8 Apr. 2015. <http://www.thecityreview.com/park375.html>.

5 Olsson, Mikael. Six-Walls-House-by-Johan-Arrhov_dezeen_468_3 .jpg. Digital image. DEZEEN MAGAZINE. DEZEEN MAGAZINE, 1 Apr. 2015. Web. 8 Apr. 2015. <http://static.dezeen.com/uploads/2015/04/Six-Walls-House-by-Johan-Arrhov_dezeen_468_3.jpg> 6 Holl, Steven. /93-093-02B---W-PROJECT-HORI. Digital image.

Steven Holl. Steven Holl, n.d. Web. 8 Apr. 2015. <http://www.stevenholl. com/media/files/119/93-093-02B---W-PROJECT-HORI.jpg>.

7 Robbins, Greg. 1273696869-nature-house.jpg. Digital image.

ArchDaily. ArchDaily, 13 May 2010. Web. 8 Apr. 2015. <http://ad009cdnb.archdaily.net/wp-content/uploads/2010/05/1273696869-nature-house.jpg>.

ARC3014: PRINCIPLES AND THEORIES OF ARCHITECTURE COURSEWORK

my work. This emphasis stems from Louis Sullivan’s iconic quote of “Form ever follows function.”9 Though this has lead to a design that functions efficiently, I had to invert Sullivan’s quote which I swore by, and made function follow form. The design as a result lacked a personality and wasn’t architecturally stimulating or exciting; the building worked well, but there was nothing special, unique, or memorable- something that would leave an impression on someone.

PROCESS My design process for this project has involved studying the four elevations of the market extensively to create additions and changes that would not take away from the Grainger Market, but add to it. In my façade studies, I observed the proportions of the windows of all elevations in order to make sure that any changes or additions would not seem entirely foreign. The revolving doors of the shopfronts and indeed the paneling size of the glazed cantilevered extensions would be based on window proportions and spacing.

This on-going process of design often lead to the production of models and drawings that emphasize the changes made to the Grainger Market in addition to zoning diagrams that emphasize how spaces within the outer and inner market would be used in terms of both macro-planning and micro-planning. This zoning came as a result of the current conditions of the streets surrounding the Grainger Market; Elderly housing was placed intentionally in the sides of the market facing the quieter streets surrounding streets.

Ultimately, my process revolves around restoring the market to its former glory albeit in a more unorthodox manner by replacing some existing elements as well as adding new extensions. These would serve to give the Grainger Market a new character or make it seem like a new building while retaining its abstract or intangible characteristics. In his review of Edward Hollis’ The Secret Lives of Buildings: From the Ruins of the Parthenon to the Vegas Strip in Thirteen Stories, Richard Elliot States:

Materials played a relevant role in my design, where the only way certain elements would work is if they were of a certain material. This was especially the case for the revolving doors which were initially made of glass, but due to being a hazard to passerbys, the material was changed to concrete which was an opaque material. Then I came across, LiTraCon (Light-Transmitting Concrete) which was translucent. This soon became the material used for the revolving doors to allow for a visual connection and animate façade whilst still retaining practicality.

8

An issue with my design process is my disregard to context. This is seen in my use of materials in relation to the Grainger Market. For my extension and changes, I have used concrete, steel, and glass most of which are either structurally or visually foreign to the Market, which uses a masonry load-bearing structure. Another context-related issue with my process and design is that I tend to not consider any interesting viewpoints or vistas in my design. One such example is the neighboring Grey’s Monument, which I can create a view of from the Grainger Market had I considered it initially.

I feel as though my process is leading to the same result: a re-imagining of the Grainger Market.

In addition to that, there was an emphasis in my design on zoning spaces according to the market’s direct surroundings. In order to handle the building sensitively, I had to work with the Grainger Market, which dictated the form of my building and acted as a container to which I had to insert spaces into- something I found challenging. This has lead to a strong focus on function which is something I always push in

IMAGES Top: Elevation Study. Note the window’s relation to the entrance block’s width.

Middle: Zoning Diagram of Elderly House’s service block Bottom: LitraCon10

8 Elliott, Richard. “Edward Hollis, The Secret Lives of Buildings: From the Ruins of the Parthenon to the Vegas Strip in Thirteen Stories (Picador, 2010).” Edward Hollis, The Secret Lives of Buildings: From the Ruins of the Parthenon to the Vegas Strip in Thirteen Stories (Picador, 2010). PopMatters, 1 Mar. 2011. Web. 08 Apr. 2015. <https://www. academia.edu/2061743/Edward_Hollis_The_Secret_Lives_ of_Buildings_From_the_Ruins_of_the_Parthenon_to_the_Vegas_Strip_in_Thirteen_Stories_Picador_2010_>.

9 Whitecap Films, Inc. “Louis Sullivan.” Louis Sullivan. Whitecap Films, Inc., 1 Jan. 2010. Web. 08 Apr. 2015. <http://louissullivanfilm. com/sullivan/>.

10 LitraCon Bt. EinHausfuersLeben01_HR.jpg. Digital image. LiTraCon. LitraCon Bt, 2007. Web. 9 Apr. 2015. <http://www.litracon.hu/

REPRESENTATION In the earlier stages of my design, I focused on emphasizing light entry in both models and drawings to show what the internal condition of spaces would be, however as the project evolved, my work needed to represent changes to the market more clearly. And so, I began to use the color red extensively. Red would in most situations represent the changes made to the market. This is especially true in my technical drawings where it would be used to represent removed and added elements.

Red would also be used to emphasize certain aspects; my models often had structural elements highlighted in red to emphasize structure, whereas functional and spatial models used red to show the changes made to the market. The color red would be used with a very neutral color palette to ensure that it stands out from everything else. This would often give my work a very diagrammatic look that ensured maximum visual impact.

The use of red in my work stemmed from an untitled artwork by Japanese Artist Kuwayama Tadaaki where 22 equally sized anodized aluminum boards painted red were placed on a clean white wall. The result was a composition that stood out from the wall with minimal elements, but maximum visual impact.

This lead me to emphasizing those very same characteristics into my work.

Vidler states in Diagrams of Diagrams: Architectural Abstraction and Modern Representation:

My drawings and models tend to focus on function and activity rather than materiality, which is expressed minimally. This is to ensure clarity and readability.

In Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architect’s Imagination, Frascari States: 12

Also stated in Frascari’s writing is: 13

And quoted from Antonio Averlino Filarete in Frascari’s writing is: 14

1.

I tend to produce perspective elevations and sections when my project approaches a final stage to give my design a sense of reality and depth. I have done this for my current project. This method of representation comes from American Architect Paul Rudolph whose drawings tend to show the depth of space through perspective.

Vidler states: 15

11

In terms of material representation, as mentioned previously, materials in my drawings are kept to a

images/content/highres/EinHausfuersLeben01_HR.jpg>.

11 Vidler, Anthony. “Diagrams of Diagrams: Architectural Abstraction and Modern Representation.” Representations 1-20 72.2000 (2007): 7-10. STOR. Web. 9 Apr. 2015.

12 Frascari, Marco. Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architect’s Imagination. London: Routledge, 2011.

Print.

13 Ibid.

14 Ibid.

15 Vidler, Anthony. “Diagrams of Diagrams: Architectural Abstraction and Modern Representation.” Representations 1-20 72.2000 (2007): 7-10. STOR. Web. 9 Apr. 2015.

2.

ARC3014: PRINCIPLES AND THEORIES OF ARCHITECTURE COURSEWORK

113

minimum to focus on the spatial qualities.

This is inspired by Le Corbusier’s perspective drawings, namely his Cabanon in Roquebrune.

To give my drawings a “human” touch to contrast with the crisp and clean lines of CAD, I use digital watercolor brushes that resemble paintings done by hand. My use of watercolor brushes is inspired by Sunga Park’s architectural drawings with watercolors.

My drawings and models link with my design ideas, emphasizing use and visual connections through certain materials. In my elevations, people are seen in front of the building, behind the LiTraCon shopfronts, and behind glass to translate the visual qualities of each. In addition to that the revolving doors are shown to revolve and in some cases pushed by scale people to emphasize motion.

In my models, this movement is shown in my red-painted revolving doors. They could be pushed to reflect the motion intended. Light entry to the Grainger Market is emphasized in my sections through light rays.

In conclusion, I have truly enjoyed the studio and felt that designing within a container and with an existing building was truly challenging, but an eye-opening experience. The references previously mentioned, helped guide my design and make it something unique, by taking characteristics from each of them. Though my process lacked focus on context and creating interesting designs, it result in efficient spaces that worked with the studied references. My representation came as a result of everything mentioned above, and emphasized my concepts and ideas in drawings and models with clarity, showing function, habitation, and use with minimal material representation.

3.

IMAGES: (More on next page)

4.

5.

1. Closeup of my perspective section.

2. Untitled, 1992/2012, Anodized aluminum, Kuwayama Tadaaki16 3. Complete Perspective Section 4. Yale A+A Building Section, Paul Rudolph17 5. Cabanon in Roquebrune Top-view Sketch, Le Corbusier18 6. Whitehall Street Entrance Drawing by Sunga Park19 16 Kuwayama, Tadaaki. 20111227034522-TadaakiKuwayamaUntitled19922012_crop0.jpg. Digital image. ArtSlant Worldwide. ArtSlant Worldwide, 2012. Web. 9 Apr. 2015. <http://dbprng00ikc2j.cloudfront.net/work/image/528086/ mf2ji7/20111227034522-TadaakiKuwayamaUntitled19922012_ crop0.jpg>.

17 Rudolph, Paul. 6107eefe458e70f347aa08a04f3013cc. jpg. Digital image. Pinterest. Pinterest, n.d. Web. 9 Apr. 2015. <https://s-media-cache-ak0.pinimg.com/originals/61/07/ ee/6107eefe458e70f347aa08a04f3013cc.jpg>.

18 Corbusier, Le. Cabanon-03.jpg. Digital image. Socks.

Socks, 30 Jan. 2014. Web. 9 Apr. 2015. <http://socks-studio.com/ img/blog/Cabanon-03.jpg>.

19 Park, Sunga. Park-4.jpg. Digital image. Colossal. Colossal, 6 Sept. 2013. Web. 9 Apr. 2015. <http://www.thisiscolossal.com/ wp-content/uploads/2013/09/park-4.jpg>.

5.

6.

BIBLIOGRAPHY All About Eats. Grainger Market. Digital image. All About Eats. Wordpress, 24 Jan. 2015. Web. 8 Apr. 2015. <https://allabouteatsblog.files.wordpress. com/2015/01/photo-3-4.jpg>.

Corbusier, Le. Cabanon-03.jpg. Digital image. Socks. Socks, 30 Jan. 2014. Web. 9 Apr. 2015. <http://socks-studio.com/img/blog/Cabanon-03.jpg>.

“Edward Hollis, The Secret Lives of Buildings: From the Ruins of the Parthenon to the Vegas Strip in Thirteen Stories (Picador, 2010).” Edward Hollis, The Secret Lives of Buildings: From the Ruins of the Parthenon to the Vegas Strip in Thirteen Stories (Picador, 2010). PopMatters, 1 Mar. 2011. Web. 08 Apr. 2015. <https://www.academia.edu/2061743/Edward_Hollis_The_Secret_Lives_of_Buildings_From_the_Ruins_of_the_Parthenon_to_the_Vegas_Strip_in_Thirteen_Stories_Picador_2010_>.

Elliott, Richard. “Edward Hollis, The Secret Lives of Buildings: From the Ruins of the Parthenon to the Vegas Strip in Thirteen Stories (Picador, 2010).” Edward Hollis, The Secret Lives of Buildings: From the Ruins of the Parthenon to the Vegas Strip in Thirteen Stories (Picador, 2010). PopMatters, 1 Mar. 2011. Web. 08 Apr. 2015. <https://www.academia.edu/2061743/Edward_Hollis_The_Secret_Lives_of_Buildings_From_the_Ruins_of_the_Parthenon_to_the_Vegas_Strip_in_ Thirteen_Stories_Picador_2010_>.

Frascari, Marco. Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architect’s Imagination. London: Routledge, 2011. Print.

Holl, Steven. /93-093-02B---W-PROJECT-HORI. Digital image. Steven Holl. Steven Holl, n.d. Web. 8 Apr. 2015. <http://www.stevenholl.com/media/ files/119/93-093-02B---W-PROJECT-HORI.jpg>.

Horsley, Carter B. Seagram2.gif. Digital image. The Midtown Book. The City Review, n.d. Web. 8 Apr. 2015. <http://www.thecityreview.com/park375.html>.

Kuwayama, Tadaaki. 20111227034522-TadaakiKuwayamaUntitled19922012_crop0.jpg. Digital image. ArtSlant Worldwide. ArtSlant Worldwide, 2012.

Web. 9 Apr. 2015. <http://dbprng00ikc2j.cloudfront.net/work/image/528086/mf2ji7/20111227034522-TadaakiKuwayamaUntitled19922012_crop0. jpg>.

LitraCon Bt. EinHausfuersLeben01_HR.jpg. Digital image. LiTraCon. LitraCon Bt, 2007. Web. 9 Apr. 2015. <http://www.litracon.hu/images/content/highres/ EinHausfuersLeben01_HR.jpg>.

Martin, Gary. “The Meaning and Origin of the Expression: Less Is More.” Less Is More. The Phrase Finder, n.d. Web. 08 Apr. 2015. <http://www.phrases.org. uk/meanings/226400.html>.

NewcastleGateshead Initiative. “Grainger Market.” - Covered Market/Market Hall in Newcastle upon Tyne, Newcastle upon Tyne. NewcastleGateshead Initiative, n.d. Web. 08 Apr. 2015. <http://www.newcastlegateshead.com/shopping/grainger-market-p433811>.

Olsson, Mikael. Six-Walls-House-by-Johan-Arrhov_dezeen_468_3 .jpg. Digital image. DEZEEN MAGAZINE. DEZEEN MAGAZINE, 1 Apr. 2015. Web. 8 Apr. 2015. <http://static.dezeen.com/uploads/2015/04/Six-Walls-House-by-Johan-Arrhov_dezeen_468_3.jpg>.

Park, Sunga. Park-4.jpg. Digital image. Colossal. Colossal, 6 Sept. 2013. Web. 9 Apr. 2015. <http://www.thisiscolossal.com/wp-content/uploads/2013/09/ park-4.jpg>.

Robbins, Greg. 1273696869-nature-house.jpg. Digital image. ArchDaily. ArchDaily, 13 May 2010. Web. 8 Apr. 2015. <http://ad009cdnb.archdaily.net/ wp-content/uploads/2010/05/1273696869-nature-house.jpg>.

Rudolph, Paul. 6107eefe458e70f347aa08a04f3013cc.jpg. Digital image. Pinterest. Pinterest, n.d. Web. 9 Apr. 2015. <https://s-media-cache-ak0.pinimg. com/originals/61/07/ee/6107eefe458e70f347aa08a04f3013cc.jpg>.

Vidler, Anthony. “Diagrams of Diagrams: Architectural Abstraction and Modern Representation.” Representations 1-20 72.2000 (2007): 7-10. STOR. Web. 9 Apr. 2015.

Whitecap Films, Inc. “Louis Sullivan.” Louis Sullivan. Whitecap Films, Inc., 1 Jan. 2010. Web. 08 Apr. 2015. <http://louissullivanfilm.com/sullivan/>.

Top: Moving Model. Note the use of red and revolving doors.

Bottom: 1:50 study model. Note the red Steel frames and Staircase.

114

ARC3014: PRINCIPLES AND THEORIES OF ARCHITECTURE COURSEWORK