deptford’s vessels (Re)discovering Deptford’s Identity Through Making ALICEA CHIA UNIT 21: CURIOSITY ABOUNDED – The Gentle Art of Making Enemies MA Architecture (Part II) Year 1 / December 2017 Interim Portfolio
01. Recognition A timeline showing key moments in the rise and fall of Deptford as a shipbuilding town Deptford has a long history of making, mainly in the maritime industry - from ships to cables, masts and anchors. The town flourished after 1513 when Henry VIII founded The Royal Dockyard, which successfully created many job opportunities. Today, St Paul’s church and Georgian Terraces along Albury Street are reminders of Deptford’s past wealth and success.
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henry viii founded the royal dockyard
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1700
the royal victoria victualling yard Victualling Yard established, where ships’ stores and supplies were assembled
job opportunities as sailors, carpenters, shipbuilders and ropemakers emerged
1730 Deptford divided into two parishes –
st paul and st nicholas population of deptford rises The end of Napoleonic Wars
1800
1869 unsuitable to launch ships,
The Dockyards closed down replaced by The Foreign Cattle Market
1913 number of unskilled workers increased
poverty and deprivation
1961
The Royal Victualling Yard closes
The economic decline of Deptford industrial heritage sites, The Royal Dockyards, Deptford West Power Station and Robinson Mill were cleared for new developments
International British Trading Routes The ports of England were important for worldwide trade, especially in the 17th century. This contributed to the need for ships (building and yards) where Deptford became recognised and highly dependent upon.
The Ports of (East) London along The River Thames
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Ports were found all along the Thames, and to the mouth of the river, past Kent and Essex. It was a key access point for ships for trading purposes. 1. 2. 3. 4. 5.
London Docks Surrey Commercial Docks West India Docks South India Docks Royal Victoria & Albert and King George V Docks
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The Docks of London in the 18th Century
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London Bridge Custom House The Trinity House The Tower The Mint St. Katherine Docks London Docks St Saviour’s Dock Wapping Thames Tunnel Tunnel shaft Rotherhithe Church Shadwell Church Commercial Railway Regent’s Canal
16. Basin 17. Bromley Canal 18. Grand Surrey Docks 19. Commercial Docks 20. Ordnance Wharf 21. Greenland Dock 22. Victualling office 23. Royal Dockyard 24. Deptford Creek 25. Drunken Dock 26. Ferry house 27. Royal Hospital 28. Royal Naval Asylum 29. Norfold College 30. Mr. Beele’s iron works
31. Mesars Enderby’s rope works 32. Folly House Tavern 33. West India House 34. South-west India Dock 35. Timber dock 36. West India Dock reservoirs 37. East India Docks 38. Bow Creek 39. All Saints Church 40. Chapel 41. Limehouse Church
The Victualling Yard and The Royal Dockyard The Royal Dockyard became redundant in 1869 as ships were no longer needed. It was replaced by the Foreign Cattle Market. In 1961, The Victualling Yard also closed down. Today this area is known as Convoys Wharf where developments are happening rapidly.
02. Friction The disappearance of ‘making’ in Deptford Although the redundance of shipbuilding led to the decline of Deptford, the community held on dearly to their maritime identity. An anchor was installed at the start of the High Street in 1988 to commemorate Deptford’s maritime history. However, it was removed by authorities in 2013 as a solution to anti-social behaviour. Since then, efforts to bring the anchor – Deptford’s last surviving piece of maritime heritage, back to the High Street have been made. Deptford Is Forever is the main organisation that leads this.
Making in the past
What’s left of Deptford’s identity?
Other forms of making, not necessarily related to just shipbuilding, took place in Deptford. Its people were actively involved in these industries such as rope-making, steel / iron works for anchors, timber works for masts and ceramics (pottery).
D HIGH S TREET
ropes
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anchors
pottery
Deptford Is Forever teams up with Deptford Society / Deptford X : Red Tape (2015) (Top Left) The anchor on a plinth being installed by the architect in 1988 / The Red Tape movement around Deptford High Street. The red tape signifies excessive bureaucracy or adherance to official rules and formalities. The aim was to talk to people about the anchor and Deptford’s maritime heritage. A petition was launched.
Isle of Dogs
Making in Deptford today Deptford High Street in relation to creative institutes Most of the industrial sites in Deptford have closed down since its economic decline. The act of ‘making’ still exists, however on a much smaller scale. Creative institutes are located in Deptford and around, but remain rather discreet, and unknown to the general public.
Convoys Wharf
Art Studios / Manufacturers
Old Royal Naval College, Greenwich
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Deptford High Street
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Main creative spaces of Deptford / Lewisham 1. 2. 3. 4. 5.
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Lewisham Arthouse Deptford Old Police Station Cockpit Arts The Art in Perpetuity Trust The Artworks Creekside
Lewisham Arthouse The Arthouse was once the Deptford Central Library, which closed down in the 90s. It is one of the many re-purposed buildings found in this area; proving the possibility of regeneration through the love for art within the community. (Images from: http://www.lewishamarthouse.org.uk/)
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Deptford Old Police Station Now converted into artists’ studios and exhibition spaces, the Old Police Station is an example of how Deptford’s art scene remains discreet and often looked over.
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Deptford Old Police Station 114 Amersham Vale The exploded axonometric shows the spaces when in use by the Police. But now the spaces have been converted accordingly:
The Old Police Station was converted into an art studio and exhibition space in 2007. Minimal refurbishment took place and the artists’ studios sit on the upper floors, while the cells and reception areas on the ground floor are let out or used by the artists to exhibit their work.
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The Old Police Station remains discreet, a distance away from Deptford High Street and mostly known through word of mouth.
FACADE BASEMENT GROUND 1st FLOOR 2nd FLOOR
No indication of art studios’ presence Artists’ studios and workshops Reception, photography studio, exhibition Artists’ studios and workshops Storage, artists’ studios and workshops
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Cell M01
DEPTFORD OLD POLICE STATION CELL M01
The cells are now used as spaces for artists to exhibit their work. The structure of the cell has been retained - generally only allowing views out and not into the cell. The cells are now used as spaces for artists to exhibit their work.
The structure of the cell has been retained - generally only allowing views out and not into the cell.
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BED WC WINDOW DOOR
used as shelf / platform for art BED now covered up,1 and sealed WC/ out retained; limited2views in 3 WINDOW retained; left open 4 for viewers DOOR
used as shelf / platform for art now covered up, and sealed retained; limited views in / out retained; left open for viewers to see art
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Design Drivers on the High Street Deptford High Street Market & Shops Movement, occupation and continuity were studied along Deptford High Street. The temporal nature of the market stalls somehow successfully have a lasting effect on atmosphere of the street – of which seems dead on a non-market day, in comparison. The elements of a fruit and vegetable shop (81) and butchers (83) which manage to give it a street presence were studied in more detail. Thoughts on how to incorporate these elements into a maker/ artist’s studio in order for it to be ‘rediscovered’ are explored. The buildings along the High Street are also mostly of a live/ work typology.
Residential
Stalls fill the street on a market day as produce spill out onto the pavements from the shops, engaging with customers. cv
Site Plan / Scale 1:500@A2 A study of occupation and movement along Deptford High Street and Douglas Way on a market day.
ST PAUL’S HOUSE
Movement / People Occupation / Shop & Goods Temporary Structure / Market Stall Land / Softscape
DEPT FORD
DEPTFORD LOUNGE
HIGH
THE ALBANY
STREE T
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WAY
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81 DEPTFORD HIGH ST
81 Deptford High Street
Design drivers extracted from the operation of a fruit and vege shop The shop stalls was studied at high different times of the day. Seeing & market along the street. how successful it is in engaging with people, its elements were analysed and taken into account for design for permeability.
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The shop on the ground floor is closed, with the metal roller shutters down.
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Deptford High Street is quiet and deserted.
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Lights from the residential floors above not seen through the windows. The shop on the ground floor is closed, with the metal roller shutters down. Deptford High Street is quiet and deserted. Lights from the residential floors above not seen through the windows.
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The ground floor shop opens for business; its roller shutters pulled up. The shop’s goods are clearly visible from outside to the back wall.
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Tables of fruit and vege are pulled out onto the footway, attracting passers-by.
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The ground floorstalls shopoccupy opens for Temporary market thebusiness; street. its roller shutters pulled up. Theof shop’s goods are St clearly visible from outside on to the backdays wall.like this. Most Deptford High becomes pedestrianised market Tables of fruit and vege are pulled out onto the footway, attracting passers-by. Temporary market stalls occupy the street. Most of Deptford High St becomes pedestrianised on market days like this.
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Goods are stocked on the shelves and in crates along the walls of the shop. Goods are stocked on the shelves and in crates along the walls of the shop. TheThe back room is used for storage. back room is used for storage. The surfaces inside the shop, the footway and street are of similar texture. TheThis surfaces inside the shop, the footway andinstreet are of the similar texture. creates an almost seamless transition and out shop. ThisBanter createsis an almost seamless transition in andthey out of the shop. heard between traders from where stand, manning their stalls and shouts to attract customers. Banter is heard between traders from where they stand, manning their stalls and shouts to attract customers.
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The shop closes by 1900 hrs; its roller shutters come down again.
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The temporary stalls are removed completely, and tables pulled back in.
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Lights from residents are seen above. The shop closesshift by 1900 its roller shutters come down again. Movement / activity to thehrs; upper floors. The temporary stalls are removed completely, and tables pulled back in. Lights from residents are seen above. Movement / activity shift to the upper floors.
Site
Douglas Square
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Douglas Way market
Aerial Study of Deptford High Street The movement and activity happening along Deptford High Street, Douglas Way and Douglas Street are studied on a market day, when the dynamics and atmosphere of this place completely changes. Market stalls fill the street, people are constantly moving in and out of the shops, and in between the stalls.
Nature of Display Douglas Way Market A bric-a-brac market which has survived for many years along Douglas Way and on Douglas Square, selling anything imaginable – functioning or not, in pieces or whole. The traders are resourceful bringing in new items every market day. It is successful in a sense, because of how everything is strewn across tables and the ground. Customers weave in and out, and between the goods and eventually buy something they never knew they needed.
“People just don’t come here anymore. I mean lets be honest, the things we sell are shit, but I’ve been doing this for 30 years now.” – Trader, Douglas Way Market
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STORAGE
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PROCESS / REFINEMENT
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PACKAGING
83 DEPTFORD HIGH STREET speculative study of the butcher’s movement and processes
83 Deptford High Street A speculative study of the butcher’s movement and processes. The pig is divided into smaller pieces, either to be cut away even more or have other ingredients (elements) added to it – herbs, spices, string to hold it together; it is dressed to become something different. Much like the process of making, a form is changed to become something else.
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DISPLAY / SALES
An Anatomical Study : Permeability Leading on from the analysis of the butcher’s, the anatomy of a pig was studied. How everything is compartmentalised, each with unique function and nature of ‘space’; yet ‘slot’ together as a body was taken into consideration. The chambers in a pig could be translated into spaces.
03. Reconciliation Deptford’s Vessels Deptford’s history of making included pottery and ceramics. Amongst the larger potteries that were established were: • • •
The Upper on Church Street and Copperas Lane (later called Bronze Street) (1701 – 1961) The Lower on Copperas Lane by Deptford Creek (1730 –1860) Church Street Pottery (1730 –1887)
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Potters, Ceramics & the Kiln
Rediscovering the Identity of Making
The form of the kiln became quite iconic in England in the late 18th century and 19th century. It was a large industry, especially in the north-east, Sunderland.
The idea of proposing a ceramics studio was explored. Besides an iconic form for making, the kiln or vessels allow for many opportunities – in terms of heating and inhabitable space, bringing something new to the live/work typography of Deptford.
Smaller potteries were recorded in Deptford. They were more commonly known for sprigged stoneware.
Urban Strategy
Creative Education Eventually dispersing these vessels all over Deptford. It would be known that artists inhabit these spaces, bringing back a love for art and making to the public.
A New Live / Work Typology in Deptford *ILLUSTRATION IN PROGRESS
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The Potter’s Studio AI
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Typical ceramics studio and processes Spatial analysis of processes that take place in a ceramics studio. The machines and equipment required, as well as the flow of heat, water and air were studied.
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1. Damp cupboard 2 Ventilator (fresh air supply) 3. Concrete slab 4. Sink 5. Cleaning equipment
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Shelves for work in progress (away from kiln/heat) Clay bins Electric wheel Porous work surface Non-porous glazing / decorating surface
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Extractor (fumes out) Fire Extinguisher Electric kiln (Adjustable) drying shelf Decorating tools
THE POTTER’S STUDIO
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DAMP CUPBOARD VENTILATOR (FRESH AIR SUPPLY) CONCRETE SLAB SINK
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SHELVES FOR WORK IN PROGRESS (AWAY FROM KILN/HEAT) CLAY BINS ELECTRIC WHEEL POROUS WORK SURFACE
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EXTRACTOR (FUMES OUT) FIRE EXTINGUISHER ELECTRIC KILN (ADJUSTABLE) DRYING SHELF
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Complementary Processes The equipment and tasks in a ceramics studio should be strategically arranged for efficiency. For example, excess heat from the kiln would be useful if the shelf for drying the ceramic products was located nearby.
COMPLEMENTARY PROCESSES
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MOULDING / ROLLING / CUTTING GLAZING / DECORATING
Moulding
Rolling
Glazing
Decorating
Firing
Drying
Cutting
Proposed Site Plan / Scale 1:500@A2 The proposal aims to create a creative space which can easily be engaged from the street. Residential units are above ground level, with entrances in more discreet locations. The narrow passages open up to a (heated) courtyard, which the vessels all face. The fragmented general arrangement demonstrates permeability into a space.
ST PAUL’S HOUSE
Part of Giffin Street has been pedestrianised.
DEPTFORD LOUNGE
THE ALBANY
GIFFIN DOUGLAS
WAY
STREET
R D T F O D E P H I G H E T S T R E
Deptford Lounge former bank Douglas Square
Site Douglas Square
Giffin Street, pedestrianised
Existing Site Condition The boundary encloses Douglas Square and an existing derelict building, 88 Deptford High Street / 9 GIffin Street. A portion of Giffin Street is to be pedestrianised and people would transition through the courtyard space instead.
Proposed General Arrangement Proposed Site Plan / Scale 1:200@A2 The units ‘slot’ together within the site, with narrow passage ways that lead into the central space / courtyard. The proposal aims to utilise the flow of energy in and out of the kilns for other purposes ie. shared heating. People are able to transition through this space and look into the studios. The display of ceramic products take after the market along Deptford High Street and Douglas Way, where objects spill out onto the streets. *WORK IN PROGRESS: define the hierarchy of spaces. Which unit could be different from the rest (main) and why?
Ceramics Studio as a Live / Work Space _ Unit 01 The studios on the ground floor are a shared spaces between 2-3 residential on the floors above. The studio spaces where the moulding and decorating take place are along the perimeter of the proposal and are of a lighter exterior. Passers-by are able to look into these spaces from the outside, seeing how the ceramics are made.
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The firing and drying however, are more internal spaces, facing the courtyard. Seating is designed on the external side of the kilns in the courtyard.
Following on from the anatomical study, a permeability model was drawn to define different layers and spatial arrangements – analysing the in-between spaces.
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Studio / Workshop Pottery wheels Display Damp storage Storage
6. Drying 7. Firing kilns 8. Courtyard 9. Street
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Transition & Permeability Studying street presence and public spaces The transitional space through the site (replacing the portion of Giffin Street that was pedestrianised) was explored. Initially, through the dynamic exchange of products across the space, but now in a more intangible sense, the exchange of heat and light is explored. The arrangement of the units form pockets of spaces and narrow passage ways which open up into a courtyard where people can linger, whilst engaging with the making that occurs in their surroundings.
Street
Studio / Residential Units
Transitional Space
Studio / Residential Units
transitional space
live
work display
ENVT1093 _ Future Representations : Physical Model Output The physical model was a study of the transitional space and how the kilns can be used as a feature within the central space. The element of stretching and ‘pulling apart’ was a recurring theme through making this model. An undulating form is explored as a possible topography for the public to wander into. * IN PROGRESS : the idea of raising the studios above ground and have this topography for display / public space
Permeability in the vertical & horizontal plane Based on the physical model, the proposal is explored in section. Opportunities for more porous design and programme on different levels are drawn. Also studied: how light can penetrate the studio spaces and the lower public space – a possible design opportunity for vertical visual relationships.
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heat recycled
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1. Central courtyard 2. Residential 3. Studio 4. Workshops (Public) 5. Display 6. Seating 7. Street 8. Basement 9. Kiln
heat stairs
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*IN PROGRESS: to explore materiality and atmosphere of the public space. Thoughts on how to integrate public space with the studios / display more.
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