Design Portfolio

Portfolio Of Works

Archaeological Enclosure an Andrew Percival Amble

Princeton University And The University Of Cambridge University of March 2016

Contents Profile

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Chapter 1 - Princeton University

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Bendingo Mountain - 2015 Mountain as Myth - Victoria, Australia Diversion Infrastructure - 2015 Fragmented Arpents - Bayou Lafourche, Louisiana, USA Gallery in a Garden - Garden in a Gallery - 2014 Art Foundation & Offices - Princeton, New Jersey, USA Draped Ghosts - 2014 Installation - Princeton School Of Architecture The Memoirs of A. Brick - 2014 BrickVision Motion Picture - An A. Brick Film 5 Drawings - 2014 Visual Studies Seminar - Princeton School Of Architecture

Chapter 2 - The University Of Cambridge

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Infrastructure & Inhabitation - 2013 Archaeological Enclosure & Hostel - Ambleside, Cumbria, UK After The Flood - 2013 Irrigated Waterways, Cambridge, UK The Everyday & The Extraordinary - 2012 The Factory, The Yard & The Library - Hackney, London, UK Urban Structures - 2012 Gonville Place Ice Rink - Cambridge, UK

Chapter 3 - Other Art - 2009 - 2015 A Collection of Artworks

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Profile About Andrew is currently a candidate for a professional Master Of Architecture (M.Arch I) at Princeton University. He previously obtained a Bachelor Of Arts in architecture from The University Of Cambridge, achieving a II.I classification in all three years of study.

Education Master Of Architecture - M.Arch I Princeton University 2014 - Present BA(Hons) Architecture - II.I Classification Pembroke College, The University Of Cambridge 2010 - 2013 A-Level Examinations Art & Design (A*), Mathematics (A*), Physics (A*), Classics (A) The King’s School Canterbury: 2010

Employment Princeton University - Princeton, NJ, USA Princeton, NJ 08544 September 2015 - Present CHAOS Lab - Princeton, NJ, USA Princeton University, School of Architecture, Princeton, NJ 08544 June 2015 - September 2015 FPCR Environment & Design Ltd. - Derby, UK Lockington Hall, Lockington, Derby, DE74 2RH February 2014 - August 2014 identity The Jewellers - Derby, UK Unit 106, Level 1 North Mall, intu Derby, DE1 2PG June 2011 - September 2011 3

Awards Fellowship in Humanities & Social Sciences Princeton University 2014 Academic Merit Awards Pembroke College, The University Of Cambridge 2011 & 2013 Jack Lander Travel Scholarship Pembroke College, The University Of Cambridge 2012 Art & Design Award The King’s School Canterbury 2009 & 2010

Skills, Interests & Documentation Skills Excellent drawing, model making, craft, and construction skills Fluent in Adobe Creative Suite: Specifically Photoshop, InDesign and Illustrator Fluent in Rhinoceros, AutoCAD and Google SketchUp Proficient in Vectorworks and Microstation Interests Princeton University Hockey Club: 2014 - present Pembroke College Hockey Club Captain: 2011 - 2012 Pembroke College Hockey Club: 2010 - 2013 Pembroke College Football Club: 2010 - 2013 The King’s School Canterbury 1st XI Hockey Team: 2010

Contact Andrew Percival UK Address: 4 Ednaston Court Ednaston Ashbourne Derbyshire DE6 3BA USA Address: 88 College Road West Princeton NJ 08544 T: +1 (609) 271-7802 E: percival@princeton.edu andrew.percival.21@gmail.com

House Prefect - The King’s School Canterbury: 2009-2010 Documentation F1 Student Visa - Currently valid through June 2017 United Kingdom Driving Licence

Links http://archinect.com/andrewpercival http://issuu.com/andrewpercival 4

Aoraki - Mount Cook Location: New Zealand Height Above Sea Level: 3,724m Prominence: 3,724m Types of Myth: Oral Tradition

Sea Level

Sea Level

Mount Vesuvius Location: Italy Height Above Sea Level: 1,281m Prominence: 1,281m

Sea Level 1:200,000

Mt. Cook theLiterary Southern Alps Types of and Myth: Texts Nicholas Chevalier, 1876

Aoraki

Chapter 1 - Princeton University Bendingo Mountain - 2015

Sea Level

Mount Parnassus

Mountain as Myth - Victoria, Australia (Studio taught by Junya Ishigami)

Location: Greece Height Above Sea Level: 2,457m Prominence: 1,590m

Sea Level

Types of Myth: Literary Texts

Sea Level 1:200,000

The prompt of mountain leads one to think not only of geological processes and of spectacular landscapes, but also the cultural implications that such forms have become imbued with over the years.

The study of these forms begins with an analysis of textual and visual representations of the myths that they have come to be associated with by the cultures that surround them. One such myth, that of Mount Fuji in Japan, is outlined below, and visual representations of a selection of the mountains studied is shown opposite .

Vesuvius from Portici Joseph Wright of Derby, 1774-1776

Mount Vesuvius

Sea Level

Sea Level

Mount Fuji Location: Japan Height Above Sea Level: 3,776m Prominence: 3,776m

Sea Level 1:200,000

“And so he also attached a letter to the vessel of the elixir of immortality and gave it to a retainer. As Imperial Envoy, he called a man named Tsuki no Iwagasa and ordered him to take this to the top of the mountain in Suruga Province, instructing him as to what he was supposed to do at the peak. He was to place the letter and the vessel with the elixir of immortality next to each other, set fire to them and burn them. Because, having received these instructions, the envoy took a group of many soldiers” with him and climbed the mountain, they called this mountain Fuji ~ Mountain of Immortality. It is said that the smoke still rises into the clouds.”

The Tale of the Bamboo Cutter, IX

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Types of Myth: Literary Texts

El Parnaso Rafael, 1511

Mount Parnassus

Sea Level

Sea Level

Sea Level

1:200,000

Inume Pass, Kōshū, Part of the “Thirty-Six Views of Mount Fuji” Series Hokusai, 1760 - 1849

Mount Fuji

Mount Parnassus as studied by Christopher Wordsworth - The cultural sites of Delphi and the Castilian Spring are small scale, enclosed spaces focussed on by artists for their significance

Mount Fuji as studied Katsushika Hokusai - The mountain as a whole is the symbol of Japan, studies are made from all sides due to its symmetry and significance to the entire nation

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to the north by the Murray River and to the south by the Indian Ocean. Up until 1788, when Great Britain claimed the Eastern part of Australia, the area was inhabited by a number of Aboriginal peoples who collectively referred to themselves as the Koori.

Many of these peoples still live in the area and have a claim over the land even today.

Melbourne Located more or less centrally on the southern coastline, the Australian capital, Melbourne is the cultural centre of the state.

With a population of over 4,000,000 people it is the second most populous city in all of Oceana. Though first colonised by Europeans in 1803, it is estimated that humans have inhabited this site for up to 40,000 years. Prior to colonisation, the area was inhabited by the Wurundjeri, Boonwurrung, and Wathaurong tribes. Their aboriginal beliefs in “dreamtime” (both the period of creation in which heroes and monsters inhabeted the earth and created its landforms, and the singing and chanting of these myths to sustain the lands) set a precedent for creation of landscape through cultural principles and beliefs in the area.

The Australian aboriginal belief in “dreamtime” (both the period of creation in which heroes and monsters inhabeted the earth and created its landforms, and the singing and chanting of these myths to sustain the lands) sets a precedent for creation of landscape through cultural principles and beliefs. Located centrally on the southern coastline of Victoria, Australia’s capital, Melbourne, is the cultural centre of the state. With a population of over 4,000,000 people it is the second most populous city in all of Oceania. Though first colonised by Europeans in 1803, it is estimated that humans have inhabited this site for up to 40,000 years. Prior to colonisation, the area was inhabited by the Wurundjeri, Boonwurrung, and Wathaurong tribes. Many of these peoples still live in and around the city, and practice dreamtime rituals to this day.

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Kosciuszko National Parks as part of the Australian alps. Situated to the North-West are the Murray Sunset and Wyperfield National parks as urban Australia transitions to the desert of the outback. These parks mean that Melbourne sits at the centre of three types of natural terrain: the islands, the mountains, and the desert.

The Islands

The Mountains

The Desert

Surrounding Melbourne are three types of National Park. To the South lie the Franklin Gordon Wild Rivers and Southwest National Parks situated on the island of Tasmania. To the East are the Alpine and Kosciuszko National Parks as part of the Australian alps. Situated to the North-West are the Murray Sunset and Wyperfield National parks as urban Australia transitions to the desert of the outback. These parks mean that Melbourne sits at the centre of three types of natural terrain: the islands, the mountains, and the desert.

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and fjiordland, brought towards the peak from the National Parks of Tasmania. To the North-East the approach will be through mountainous terrain at high altitude typical of the nearby Australian Alps. To the North-West the approach will be across the outback desert typified by Wyperfield and Murray Sunset Nationap Parks.

Desert

Mountain

The Mountains The Eastern approach to the mountain will be across the extended Australian alps. Viewed from high altitude, the mountain will come across as changeable and dangerous as clouds move rapidly around it, obsuciring it and revealing it at random intervals. A series of other peaks and ridges adds to the mystique and danger of the area, providing a barely traversable route to the main peak.

Island Approach

The Desert

Islands

The desert approach will be dramatic and unchanging. The peak, and ridges off of it, will rise suddenly out of the relateivly flat terrain to the West of it. Whilst climate may affect the appearance of the mountain at its highest point, there will be a constant feeling of strength from the wall-like ridge that climbs up from the plains of the desert.

Mountain Approach The peak of the mountain will north of Melbourne, equidistant between the entrance to the Indian Ocean at Port Phillip Bay and the Murray River at Echuca. Three different approaches to it are defined by the national parks that surround the area. To the South the approach will be defined by an archipelago and fjiordland, brought towards the peak from the National Parks of Tasmania.

To the North-East it will be through mountainous terrain at high altitude typical of the nearby Australian Alps, to the North-West across the outback desert typified by Wyperfield and Murray Sunset National Parks.

As a way of establishing how to formalise the spaces leading up to the peak, a series of studies of ridge typologies was undertaken.

Desert Approach 9

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Stratigraphic Ridge

Crater Ridge

Oceanic Spreading Ridge

Shutter Ridge

Fault Ridge

Dendritic Ridge

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The The Islands Islands The transition of valleys leading to thetopeak open open water,water, to enclosed lakes,lakes, to glacial creates an ever The transition of valleys leading the from peak from to enclosed to glacial creates an ever changing route.route.

The path is long easy as a pilgramage route route or hikers trail. trail. changing The up path up isand longshallow, and shallow, easy as a pilgramage or hikers

Islands

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The Desert Desert The The Mountains Repeating ridge-lines create a rythm of environments leading up to the main peak. Each ridge acts as a barrier, an obstacle to be traversed if the summit is to be reached.

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Mountains

Desert

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Portfolio Of Works Donaldsonville 80,000 cfs 4,000 cfs

Northern Agricultural Basin fed with 2,000 cfs by Bayou In flood conditions Canal can deposit up to 30,000 cfs of water into basin for over 48 hours prior to agricultural immersion

Thibodaux 80,000 cfs 2,000 cfs Raceland 73,600 cfs 2,000 cfs

Lockport 68,800 cfs 2,000 cfs

Diversion Infrastructure - 2015

Larose 52,800 cfs 2,000 cfs

Southern Ecological Wetlands fed

by Canal From Thibodaux to Golden Meadow the Canal allows 40,000 cfs of outflow into wetlands

Fragmented Arpents - Bayou Lafourche, Louisiana, USA

There is potential for 40,000 cfs more in flood conditions

(Studio taught by Guy Nordenson - Project in collaboration with Emma Benintende and Ryan Roark)

Golden Meadow 40,000 cfs 2,000 cfs

Bayou Lafourche, as one of the many tributary flows off the lower Mississippi, was historically an important piece of infrastructure both in terms of the human population within Lafourche Parish and in the maintenance of the Louisiana coastline through sediment deposition.

With changes over the past 100 years largely diverting water away from the Bayou, the coastline is eroding fast whilst the social and economic situation in the area has become stagnant.

Bayou Route Normal Bayou Outflow Canal Route Normal Canal Outflow Flooded Canal Outflow

Flow Diagram

This project focuses on a diversion strategy to bring more water from the Mississippi into Lafourche Parish by means of a new industrial canal to complement the Bayou. Cutting away water channels and drainage basins to cope with potential flooding sets up an opportunity to use displaced earth as part of a cut and fill operation.

The geometric framework for the cut and fill operation is that of the existing land divisions along the Bayou, the arpent system introduced by the first French settlers. This operation, when seen in relation to the new industrial canal, will ease the monotony of residential yards currently plentiful in the area and help to create a topography that will define more varied and distinct communities along the length of the Bayou.

Lower Bayou Projection - Year 0 15

Lower Bayou Projection - Year 100

Lower Bayou Projection - Year 250

Andrew Percival

Regional Topography Model

On regional scale the topographic plan is one focused on building up the intended developable area along Bayou Lafourche; specifically within the five urban centres which the new industrial canal crosses. This regional topographic plan, along with the cut and fill operation on a smaller scale, enables variations in elevation to become the driving force for programmatic organization along the Bayou.

Recreation

Regional Topography

Local Topography Models

Agriculture

Industry

Residential

Civic/Commercial 16

Portfolio Of Works

By resolving regional and local topographical strategies, two distinct conditions are created along the Bayou. The first of these conditions is largely urban and based on the grid of the upper Bayou. The other is more suburban or rural and is based on the arpent system of the lower Bayou. These differing conditions evolve out of the same principles but provide very different relationships between land and water at various flood levels.

In the upper bayou at Thibodaux much of the land lies more than 20 ft above base water level. This means that, with the exception of some low plots adjacent to the agricultural basin, the city remains relatively undisturbed by all but the most catastrophic floods. The high elevations within the city also provide plenty of scope for tall vertical interfaces where land plots are adjacent to water plots.

These run in both directions along the grid system setting up the 0’

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A

1,000’ 2,000’

5,000’

10,000’

Thibodaux Plan

Andrew Percival

1. Non-flood, low density Thibodaux Density Plan - No Flood 1. Non-flood, low density

2. Moderate flood, medium density Thibodaux Density Plan - Low Flood 2. Moderate flood, medium density

3. Major flood, high density Thibodaux Density Plan - High Flood 3. Major flood, high density

1 1 2 2 3 3 The overall strategy for inhabitation along Bayou Lafourche involves creating a dynamic system that adapts to a range of flood stages. At elevations higher than 25 feet above sea level, buildings are conventional, slab-on-grade structures. At lower, flood-prone elevations, however, the proposed infrastructure supports new building types that have the ability both to rise vertically and to slide or rotate horizontally.

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In the upper bayou, the urban development in Thibodaux is high enough in elevation that adaptive buildings are not required. In flood conditions, settlements along the edge of the basin 1 consolidate first along plots located 10-15 feet above sea level, rising to 25-foot civic plots only in periods of extreme inundation.

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2 2

Portfolio Of Works

Three distinct adaptive building types, each demonstrating a specific range of motion, are employed along the bayou.

1 | The floating rotating unit is attached to a support inscribed with a helix. As water rises, the building rotates along this axis, located at the corner or in the center of the building, to connect with adjacent structures.

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2 | In non-flood conditions the accordion unit resembles an existing low-density development; each home is separated from neighboring structures by side yards with a shallow slope. As the water rises, it raises the floating foundation of each house, so that the buildings move both horizontally into a collective residential unit and vertically to the height of civic plots and out of reach of flood waters.

3 | The structure of the mobile floating unit is similar to a house boat. Conceived as temporary worker housing and units for single occupants or young couples, the structure tethers at two points to the side of a land-form. As water rises, the unit floats in place. In case of emergency, the unit can untether and become a rescue boat for other settlements.

Andrew Percival B B

B B

B B

A A

A A

A A B B

Thibodaux Neighbourhood - No Flood

Thibodaux Neighbourhood - Low Flood

Thibodaux Neighbourhood - High Flood

Views of the neighbourhood scale reveal the specific ways that adaptive buildings consolidate into interconnected forms in response to flooding. An intricate choreography guides the buildings from lowdensity, low-water conditions to high-density, high-water configurations that provide routes of travel from remote neighbourhoods to safe zones of high elevation.

In Thibodaux the non-flood condition is already one of high-density development. During floods, the gridded pattern supports the formation of extensive networks of interconnected multi-family residential buildings and commercial structures that abut zones of high elevation.

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Portfolio Of Works

In the lower bayou at Larose and Golden Meadow, plot elevations are rarely more than 10 ft. Flooding will often be widespread in this region on all but the tallest plots, meaning that high elevation hubs are very important here. With so many low plots, there is only really scope for retaining wall interfaces adjacent to the hubs.

Since water channels are so widespread here, however, these will provide many sites for docking stations on the waterways.

0’

1,000’ 2,000’

5,000’

10,000’

Lower Bayou Plan

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A

Nonflood

Andrew Percival

1. Non-flood, low density Lower Bayou Density Plan - No Flood 1. Non-flood, low density

2. Moderate flood, medium density Lower Bayou Density Plan - Low Flood 2. Moderate flood, medium density

3. Major flood, high density Lower Bayou Density Plan - High Flood 3. Major flood, high density

1 1 2 2 3 3 During normal conditions, settlement follows the low-density pattern existing on the current site, except in urban centres. As flooding occurs, buildings rise with the water and cluster together, increasing density in both plan and elevation around civic hubs located a minimum of 25 feet above sea level. Over time, it is expected that water levels may gradually rise, leading these adaptable buildings to spend more and more time in their denser flooded configurations, giving rise to new urban and suburban typologies that allow people to live with the water.

1

1

In the lower bayou, all settlement is adaptive. Dispersed at low density in non-flood conditions, water rise catalyzes a consolidation of development around 25 foot civic hubs.

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2 2

Portfolio Of Works

This model demonstrates the adaptation of an industrial complex in the lower bayou to multiple flood stages. The typical situation is one where units each have their own open space.

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As water rises, individual units begin to rotate and compress as an intermediary stage between the typical low density situation and the flooded high density situation.

When flood levels are highest, the units combine to form an interconnected complex that provides a bridge from the worker housing zone to the safe elevation of the civic zone.

Andrew Percival B B

B B

B B

A A

A A

A A B B

Lower Bayou Neighbourhood - No Flood

Lower Bayou Neighbourhood - Low Flood

Lower Bayou Neighbourhood - High Flood

In the lower bayou, inhabitations follow a largely suburban development pattern. During times of flood, units rotate and assemble either in linear groupings to create paths of circulation across arpents to civic zones or clusters to create neighbourhood islands that encourage cooperation in times of emergency.

In addition to the residential configurations present, agricultural and industrial complexes are introduced in the lower bayou. As waters rise these large warehouses, sheds, and factory facilities form clusters that create bridges across both the length and width of the arpents.

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N

Portfolio Of Works

BAYOU The existing bayou is maintained and restored to its pre-1904 state, which will naturally excavate some land from its banks although flow rates remain

relatively low (approximately 2000 cfs) BAYOU

The existing bayou is maintained and restored to its pre-1904 state, which will naturally excavate some land from its banks although flow rates remain relatively low (approximately 2000 cfs)

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Earth excavated from the basin terrain is used to build up the plots of heights ranging from +5 to +25 feet

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Reservoirs and spillways are excavated LANDSCAPE INFILL out to allow the bayou to feed out into these water plots in times of non-flood, for recreational and RESERVOIRSpurposes, AND SPILLWAYS farming and to allow the canal to send water out further RESERVOIRS AND SPILLWAYS in times of flood Reservoirs and spillways are excavated out to allow the bayou to feed out into these water plots in times of non-flood, for recreational and farming purposes, and to allow the canal to send water out further in times of flood Reservoirs and spillways are excavated out to allow the bayou to feed out into these water plots in times of non-flood, for recreational and farming purposes, and to allow the canal to send water out further in times of flood

RETAINING WALLS

Concrete retaining walls are poured prior to infill, creating a sheer vertical wall at every interface between water and a plot at least 10 feet higher than the water and at every interface between a civic hub plot and a plot at least 10 feet lower than the hub

In the upper bayou, a large basin is excavated asBASIN a site for polder EXCAVATION farming, water-based industry, and recreation, BASIN EXCAVATION while serving in times of flood as a reservoir which can hold an extra 5 CANAL billion cu ft of water In the upper bayou, a large basin is excavated as a site for polder farming, water-based industry, and recreation, while serving in times of flood as a reservoir which can hold an extra 5 billion cu ft of water In the upper bayou, a large basin is excavated as a site for polder farming, water-based industry, and recreation, while serving in times of flood as a reservoir which can hold an extra 5 billion cu ft of water

The new canal, serving primarily industrial traffic, is built up in concrete over the upper bayou, so that it runs above the basin, and excavated out in parts of the lower bayou where it is at sea level

The existing bayou is maintained and restored to its pre1904 state, which will naturally excavate some land from its banks, although flow BAYOU rates remain relatively low (approximately 2000 cfs) The existing bayou is maintained and restored to its pre-1904 state, which will naturally excavate some land from its banks although flow rates remain relatively low (approximately 2000 cfs)

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N

Earth excavated from the basin terrain is used toLANDSCAPE build upINFILL the plots of height ranging from +5 to +25 feet Earth excavated from the basin terrain is used to build up the plots of heights ranging from +5 to +25 feet

LANDSCAPE INFILL Earth excavated from the basin terrain is used to build up the plots of heights ranging from +5 to +25 feet

LANDSCAPE INFILL

Concrete retaining walls create a sheer vertical wall at every interface between water and a plot at least 10 RETAINING WALLS feet higher than the water and at every interface between a RETAINING WALLS civic hub plot and a plot at least 10 feet RETAINING WALLS lower than the hub Earth excavated from the basin terrain is used to build up the plots of heights ranging from +5 to +25 feet

Concrete retaining walls are poured prior to infill, creating a sheer vertical wall at every interface between water and a plot at least 10 feet higher than the water and at every interface between a civic hub plot and a plot at least 10 feet lower than the hub Concrete retaining walls are poured prior to infill, creating a sheer vertical wall at every interface between water and a plot at least 10 feet higher than the water and at every interface between a civic hub plot and a plot at least 10 feet lower than the hub Concrete retaining walls are poured prior to infill, creating a sheer vertical wall at every interface between water and a plot at least 10 feet higher than the water and at every interface between a civic hub plot and a plot at least 10 feet lower than the hub

The new canal, serving CANAL primarily industrial traffic, is built up in concrete over the upper CANAL bayou, so that it runs above the basin, and CANAL excavated out in parts of the lower bayou where it is at sea level The new canal, serving primarily industrial traffic, is built up in concrete over the upper bayou, so that it runs above the basin, and excavated out in parts of the lower bayou where it is at sea level

The new canal, serving primarily industrial traffic, is built up in concrete over the upper bayou, so that it runs above the basin, and excavated out in parts of the lower bayou where it is at sea level

The new canal, serving primarily industrial traffic, is built up in concrete over the upper bayou, so that it runs above the basin, and excavated out in parts of the lower bayou where it is at sea level

BAYOU The existing bayou is maintained and restored to its pre-1904 state, which will naturally excavate some land from its banks although flow rates remain

relatively low (approximately 2000 cfs) BAYOU

Andrew Percival

1. Hubs contain services and critical industry buildings 2. Multifamily housing creates residential density on the hubs 3. Civic buildings are located on hubs 4. Large commercial and arts centres can be accessed both from the hub and from adjacent lower plots

1. Traditional single-family homes of are built on floating foundations 2. Shotgun houses are built on accordion foundations 3. Single-family and multifamily homes are built on rotating foundations 4. Mobile floating units serve as temporary and tourist housing, making them particularly desirable in the lower bayou

1. Underground services provide sewage treatment, electricity, and gas 2. Gates can be opened in times of flood to relieve pressure from water 3. Underground parking can be sealed 4. Storefronts within the sheer wall can be sealed off in times of flood 5. Underground centres take advantage of the concrete infrastructure 6. Entrances at pod tethers lead residents to ground level of the civic hub and double as entrances to the floodable underground system

1. Basic floating foundations are provided for construction of singlefamily homes as well as larger buildings 2. Accordion foundations on rails allow shotgun houses to rise and cluster together when activated by rising water 3. Rotating floating foundations use a vertical helical track 4. Tethers for mobile floating units allow them to remain stationary in times of non-flood and either to detach or to rise vertically in flood

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Portfolio Of Works

Gallery in a Garden - Garden in a Gallery - 2014 Art Foundation & Offices - Princeton, New Jersey, USA (Studio taught by Michael Meredith)

The inclusion of varying programs within a single building provides opportunities to create paths that weave and wind through the different types. By encouraging a picturesque ambulation through the spaces the user will be able to experience Art Foundation, Architects Office, and Arts CafĂŠ/Cinema as part of a unified route through the building. This idea of ambulation leads one to reminisce about the English picturesque, thus creating questions about what it means to encourage vertical gardens to combine with circulation within multi-storey buildings.

The building is arranged around two garden cores. These allow a picturesque ambulation through spaces arranged between them in a rough figure-of-8 throughout the gallery. As the cores continue up the building the program of rooms situated off of them changes. Gallery initially becomes office, before then opening up to a celebration of the garden within the building in the open to the air arts theatre at the building summit. The locations of the garden spaces along this progression up the building ensures that any program fronts onto either internal or external contemplation space. The building therefore conceptually turns it’s back on the street, enclosing an internal world of picturesque within downtown Princeton.

Model Detail - First Iteration 27

Andrew Percival

Ground Floor Plan - Foundation Gallery Space 28

Portfolio Of Works

The first two floors of the building, the gallery floors, provide a stimulating set of questions about what it means to be inside or outside. This is done through leading one to question throughout the spaces whether they are in a gallery or whether they are in a garden. The spaces on these floors all front onto gardens, some of which have to be passed through in order to move between galleries, and provide an immersion in nature throughout the majority of the building There are moments throughout these floors where the gardens “invade” the gallery spaces and vice versa, leading one to be always aware of conditions of the spaces as they vary throughout the building.

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The third floor architectural offices provide a partial continuation of the meandering route of the gallery. They are largely more open in plan than many of the spaces below however maintain a dichotomy whereby wall space always faces onto garden space, whether that be inside or outside).

To compliment the open office areas are utility rooms such as a kitchenette, workshop, and print room. At the summit of the meandering progression of spaces is the archive and meeting room for the foundation and architects office. They provide views back over the initial entrance boulevard on the north side of the building, ensuring its status as a key axial route through the site.

The fourth floor is programmed as an arts cafe and cinema. Accessed either directly from the main first floor reception or by means of the picturesque route through the gallery and offices it is the finale of the garden within the building.

The cinema is a terraced landscape that sits three storeys above street level. Seating for viewers is positioned within this garden landscape and allows inhabitants to be fully immersed both in the garden and in the gallery of the art foundation simultaneously. It completes the concept of the “Gallery in a Garden - Garden in a Gallery” project through its total assimilation of the two programs within a single space.

Andrew Percival

Site Model with Scheme - First Iteration

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Draped Ghosts - 2014 Installation - Princeton School Of Architecture (Studio taught by Michael Meredith - Project in collaboration with Kevin Pazik)

Through the mystery of concealment these ghosts play with our imagination. A formal ambiguity allows for multiple readings of each object. The human psychological phenomena of pareidolia encourages a projected persona to be assigned to each individual object where one did not previously exist. Similar to the act of cloud watching, as one gazes upon these ghosts; figures, shapes, and patterns begin to emerge.

There is a tension between the interior and exterior of the ghosts.

Assumptions of solidity based on visual similarities with Baroque sculpture and materiality are incorrect. These ghosts do no imitate cloth through careful carving, instead they are actually hardened drapery. The act of physically freezing cloth leaves behind a voluminous interior void that sits in direct contrast to the apparent solidity of the exterior. The play of light off the reflective surface above which they sit gives a hint as to that which might be hidden underneath, heightening our curiosity and leading us to want to turn over each and every one of them.

Ghost Detail - Daytime

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Andrew Percival

Installation - Evening

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The Memoirs of A. Brick - 2014 A BrickVision Motion Picture - An A. Brick Film (Studio taught by Michael Meredith - Project in collaboration with Ryan Roark)

As an inquiry into the different media available to the architect this film acts as an exploration of scale through the use of the different genres of Hollywood Blockbuster as types. The personification of an inanimate brick, created through geometric manipulation in a previous project by Ryan Roark, allows it to assume different sizes as it tries to establish itself in the world. It takes on the ego of the film director, the actor, the producer, and even arguably that of its own creator the architect in its ambition to establish itself.

BrickVision Film Studios Opening Sequence

The film, which is accompanied by a series of largely well known and recognisable soundtracks, comes in a series of acts. The opening sequence (Act 1) is a series of animated stills based on Funny Face (1957). Is shows the background of the brick and sets the audience up to feel empathy for it. Act 2 has the feel of a silent picture, one in which the brick is created in “paper space” through animation before transferring to “gallery space” as it discovers itself as a single object. It then proceeds to leave this space for the wider world, a process that is filmed using stop motion. Act 3 is a series of Blockbuster posters and clips which the brick (A. Brick) has invented for itself. He is celebrating himself throughout, culminating with his triumphant emergence into space at the grandest of scales. This section is filmed using a digitized version of the Disney Multi-plane Camera which allows movement through space to remain animated and yet seem somewhat three-dimensional (as catalogued) which in 1957 was new to Disney and animation.

Music - Life Could Not Better Be Vic Schoen

By Danny Kaye (1955) 35

Andrew Percival

Act 2 - Silent Picture

Act 2 - Animated Creation of the Brick

Act 2 - Stop-Motion Departure from “Gallery Space” 36

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BRICK OF THE NILE

BRICKHEART

BRICKHOUSE

Music - First Entrance To The Desert Maurice Jarre Lawrence of Arabia (1962)

Music - The Legend Spreads James Horner Braveheart (1995)

Music - King Kong James Newton Howard King Kong (2005)

Andrew Percival

BRICK MOUNTAIN

BRICK IN THE BAY

BRICK WORLD

Music - Main Title Trevor Jones & Randy Edelman Last Of The Mohicans (1992)

Music - Nessun Dorma Giacomo Puccini

By Luciano Pavarotti (1994)

Music - To Boldly Go Michael Giacchino Star Trek (2009)

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5 Drawings - 2014 Visual Studies Seminar - Princeton School Of Architecture (Seminar taught by Michael Young)

As a series of exercises these five drawing tasks acted as explorations of different ways of going about architectural thinking and representation.

1. Reproduction - This drawing, a reproduction of Douglas Darden’s “Temple Forgetful”, focusses on the craft of drawing and the role of the traditional draughtsman. It aims, through reproducing the original in technique as well as composition, to bring to light what drawing by hand can offer to architectural representation.

2. Amalgamated Plans - By taking four different and unknown sections of plan and combining them to create something of architectural expression this drawing seeks to play with what we might and might not take for granted in what we, as architects, assume is extruded from a plan. In some areas column in plan translates to column when extruded and seen in section, whereas in other areas this is not the case.

3. Formal Analysis - This formal analysis of the geometric patterns in Andrea Palladio’s “Il Redentore” looks into origins for the layout of the church. It shows how the centre could be considered under the main basilica, or at the location of the altar, or even at the end of the nave.

The aim is to show the ambiguity of potential geometries of the church.

Drawing after Douglas Darden - Temple Forgetful 39

Andrew Percival

Amalgamated Plans

Chiesa del Santissimo Redentore - Andrea Palladio 40

Portfolio Of Works

Mr. Potato Head de-familiarization drawings

4. De-familiarization - The starting point of a Mr Potato Head toy began a process of documentation followed by estrangement of that which we think of as familiar. By modelling the toy and then playing with both its composition and materiality a new object was created. This is one which affects us through its appearance, in that it always seems to be looking at us from one of its sets of eyes, and materiality, through the fact that these eyes are pushed into what becomes obvious upon inspection as a real potato.

5. Realism - Taking the previous estranged object and placing it into a scene from a low-fi-sci-fi movie encourages a new opinion of what it means to think of something as realistic. This scene from Monsters (2010) shows how the estranged object can be, when collaged in effectively, convincing as a part of that scene. It becomes a depiction of what we assume to be one of the monsters.

De-familiarization model 41

Andrew Percival

Realism collage after de-familiarization

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Chapter 2 - The University Of Cambridge Infrastructure & Inhabitation - 2013

Layers in landscape and architecture

Archaeological Enclosure, Outpost & Hostel - Ambleside, Cumbria, UK (Studio taught by Mark Tuff and Jonathan Hendry)

Galava Roman Fort sits in the shadows of the fells of the lakes of England’s most famous national park, The Lake District. The preservation and increase in awareness of this important historical site is key to local stakeholders. The introduction of infrastructural routes, an enclosure for the fort ruins, and a new hostel for temporary living is therefore proposed to connect this periphery territory to existing settlements.

The Lake District can be seen as a series of layers: mountains, fields, rivers, and lakes. These layers extend to the local vernacular where stacking is widespread in architectural and infrastructural construction.

This delicate site is a microcosm for The Lake District as a while, with variations in ground conditions and the ruins themselves providing a series of complex layers and levels within a single field - Borrans Field.

Designing through environmental and climatic considerations is key to ensuring final proposals are of the place in this delicate landscape.

Routes across the land are set up on the dryer and more stable areas of land. The enclosure itself swells and narrows, as well as varying in permeability, as a response to the south-easterly prevailing winds and cold weather fronts from the north. This also allows the views present over Lake Windermere to be appreciated from within the shelter of the enclosure.

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Borrans Field - Ground conditions and weather fronts

The view south over the landscape

Andrew Percival

Enclosure - North Elevation

Stacking local larch allows variations in the thickness and permeability of the enclosure wall. There is a dynamic whereby it becomes more solid in appearance as one moves back from it and less so when approached. It encourages an appreciation of the fort in and of itself as well as within the landscape as a whole. The idea of the project as hand crafted and locally built inspires a low-tech assembly method to allow local joiners to carry out the construction.

Design tests and models with stacking larch

Enclosure - Internal inhabitation view

Design Sketches 44

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A precedent evolved from the nearby Croft House for a way to view the site. The elements within Borrans Field allow it to be viewed as a country estate with the new enclosures sitting as a walled gardens within this.

The chosen site for the hostel follows the same logic as that of traditional English country houses such as Hardwick Hall in Derbyshire. Here the house is positioned in relation to local infrastructure, natural features of the park and, critically, both axial and panoramic views. As such the hostel is positioned atop the outcrops north of the fort, defining views across the site whilst also setting up a distinction between cultivated and natural land across the site.

The hostel’s structural system is also based on that of Hardwick Hall. It employs solid internal walls that allow a non-structural free facade to wrap like a skin around the building, totally independent of any loading.

Estate plans, views, and infrastructure

Borrans Estate 45

Structural concept - Hardwick Hall

Andrew Percival

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Ground Floor Plan - 1:200

External a. West Facade Terrace b. South Facade Terrace c. Outcrop Entrance Plaza d. Route to Site Entrance

Internal 1. Function and Education Space ‘a’ 2. Reception Staff Area 3. Plant Room 4. Disabled w.c.

5. Fire Stair 6. Lift 7. Fireplace 8. Entrance Hall 9. Function and Education Space ‘b’ 46

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Key views define the angles of the main façades The country house historically focusses its façades and openings on the view. In a landscape such as that of The Lake District it is important to both take in the spectacle of the whole landscape and give focus to the more specific points of interest within it. Inspired by the local arts and crafts tradition a progression of spaces that contain direct and focussed views lead the way to the more through the building to the panoramic ones.

Inhabitants are constantly brought towards and away from nature, as they were in the enclosure project.

The internal strategy revolves around environment and program. Public and private floors are separated, with a dormitory floor containing a “loud” public area and floor of single and double rooms containing a “quiet” public area. These more public areas are heated using large fireplaces situated on the north side of the plan to help create a thermal barrier from the cold northerly weather fronts.

The solidity of the internal spaces is created through “Brettstapel”. Solid structural wooden panels are made out of individual softwood boards which, when pierced with hardwood dowels, become bound together around the dowels as they shrink.. This low-tech timber construction is used internally in contrast with the high-tech glass system of the adjustable facade based on Christian Kerez’ House With One Wall.

Dormitory view over Lake Windermere

Family floor public reading space 47

1st, 2nd & 3rd Floor Plans - 1:500

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Part Section and Elevation - 1:100 Facade Details - 1:50

House With One Wall

Brettstapel model and diagram

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Parapet Coping Treated Larch Shingles Waterproof Layer Dummy Window Piece 100mm Sheep’s Wool Insulation Screw Fixing 50 x 175mm Larch Mullion Larch Joint 34mm Double Glazing Unit 35mm Thermal & Acoustic Insulation

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Steel Window Fixing Piece 175 x 98mm Larch Boards 50 x 150mm Larch Mullion 50 x 175mm Larch Mullion Larch Floor Finish Damp Proof Course 250mm Concrete Floor Slab Coarse Gravel Drain Covering 140mm Square Drainage Route Mortar Joint 48

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An extension of the organisational hierarchy within is apparent on the outside. At Hardwick the status of the occupants of a room was emphasised through changing ceiling and window heights. State rooms were situated on the 2nd and 3rd floor to provide the best views over the landscape, and the importance of these rooms was articulated in the facade.

In the hostel by arranging programs by floor the public rooms (ground and 3rd floor) are given larger floor to ceiling heights. This externally emphasises their program and contrasts them against the residential floors.

Hierarchical Plan - Hardwick Hall

Unwrapped Elevation - Hardwick Hall

Unwrapped Elevation - Borrans Hostel 49

Borrans Estate within the landscape

Andrew Percival

Section AA - 1:500

Elevation BB - 1:500 50

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Andrew Percival

Set above the ruin enclosures the hostel stands over the rest of the site alongside the imposing outcrops. The plinth it sits upon ensures that the views from every floor extend over the enclosures and down to Lake Windermere, whilst its height gives it the presence of a country manor such as Croft House or Hardwick Hall.

The hostel commands not only its own estate but also the whole area through its scale, location, and material difference from much of the immediate local vernacular.

Section CC - 1:500

Elevation DD - 1:500 52

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After The Flood- 2013 Irrigated Waterways - Cambridge, UK (Charette run by Spencer de Grey - Project in collaboration with Stephen Massiah and Liusaidh MacDonald) Short term relief The Great Flood is a concept that resonates in cultures around the world and brings forth ideas of creative destruction and rebirth. Worldwide climate change is predicted to have dramatic consequences on our planted, notably a rise in sea levels. In Britain, speculation of higher rainfall and increased flood risks leads us to think about how, when combined with a rise in sea level, low lying cities such as Cambridge are to survive the prospect of devastating floods. By considering one such catastrophic event strategies for short term relief and long term sustainability strategies can be developed.

Following a flood, distribution of supplies to those stranded, primarily in residential buildings, is critical. The coverage of water enables punting, a typically recreational activity to be used for this. Where previously this activity was limited to the river it can now, in a time of need, be employed across the whole city.

In the long term, an expansion of the currently limited drainage channels present in the city into a full canal network allows for both water drainage and a new, sustainable mode of transport throughout the city centre. These new routes also create opportunities to being irrigation and agriculture directly into the city, helping it to move towards its goals of self-sufficiency.

Urban Grain Plan, Flooded Residences - 1:50000 53

Roads & Vegetation Plan - 1:50000

Andrew Percival

Relief Model Plan

Long Term Proposal, Infrastructure - 1:25000

Relief Model Plan - Canals & University Buildings 54

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The new, inner-city canal network allows for greater levels of sustainability by solving many of Cambridge’s current transport problems. It will ensure that the whole city centre is either pedestrianised or traversed by water, reducing congestion and therefore vehicular emissions. Schemes such as canal based parkand-rides will help keep cars out of the city whilst still allowing the centre itself to be both commercially and socially functional.

The new source of water throughout the city brings with it opportunities for agriculture and irrigation, particularly in the more open areas adjacent to the river on The Backs and within college grounds and parks. There can be a very flexible approach to the now abundant irrigated land. Multiple types of plant (from climbing vines to more traditionally planted crops) will be required to take advantage of the variety of spaces available.

There could also be a mix of self-contained allotments and designated farmland for more organised cultivation. This will ensure locally sourced produce can be accessed at any time by students, university staff, local residents, and even tourists from the canal network.

Trinity Street 55

Trinity Irrigated Canal

Andrew Percival

Market Square - A trading and distribution centre

The presence of locks downstream and an expanded attenuation area upstream of the city will allow control of the water levels and help prevent further catastrophic events. In general conditions, however, they will help to control water levels to both keep the city’s canals fed and prevent them from going stagnant.

As a large open space within the centre of Cambridge the Market Square, along with the adjoining Town Hall, is the ideal location for a distribution centre in the initial aid and relief operation. Following this, by drawing on its history as a centre for food and trade, the Market Square is revitalised as the focus of the canal network. It has immediate access to many of the university colleges and civic buildings so is the ideal location for the major link between land and water based infrastructural networks.

The irrigation network can also be drawn to this area in a bid to help reinstate it as the local farmers market for all connected to the canal and river network. This will encourage locally produced food which will reduce air miles and improve Cambridge’s reputation as a sustainable city.

Cambridge as an urban irrigation and distribution system - 1:25000 56

Portfolio Of Works

The Everyday & The Extraordinary- 2012 The Factory, The Yard & The Library - Hackney, London, UK (Studio taught by Miraj Ahmed and Dingle Price)

With the 2012 Olympic Games comes a legacy for Stratford and the greater East London area, including the once bustling and industrial Fish Island. In a move to take advantage of the development around it, the revitalisation of abandoned industrial yards into public domains, education centres and modern workshops is proposed to draw a new and refreshed community to this now decrepit urban environment.

Due to the strong connection to the Olympic Park and nearby Hackney Marshes (home of Sunday League football), building on a sporting tradition could create the community needed to help encourage regeneration in this poorer part of London.

Fish Island canal site plans - 1:25000

Relationship to Olympic Park over canal

Section through proposal - As community football pitch 57

Andrew Percival

Community football pitch - 1:1000

The proposal for the large canal site converts it from an abandoned space of multiple levels into a single and shifting piece of land, a public space and “street sports� facility. The proposed asphalt ground condition means that the central sports area can also be made available for vehicular use, such as a car park or for boot-sales and markets, when not in use for sporting and recreational activities.

By peeling up an area for viewing sport from, a street frontage is created outside of the venue. This ensures the creation of a connection with the rest of Fish Island to complement that already made across to the Olympic Park

Car boot sale/market - 1:1000

Proposal model photos 58

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In the area of London around Fish Island sustainable ways of living are heavily encouraged due to its development potential.

These ideas focus on improving education and literacy, which is currently low, and moving ultimately towards low or zero carbon emissions. The guiding principles behind the library and workshop proposals for Fish Island therefore also focus on these ideas.

Precedent studies of Barkow & Leibinger’s Laser Machine Tool Factory and David Adjaye’s Idea Store helped establish the need for regulated workshop space and a variety of library environments.

Initial responses focussed on separating the two programs and on building a relationship between them and the nearby industrial towers through public spaces and the main building axes.

Opening up the ground floor also created an extension of the streetscape as well as reducing noise and vibrations between the workshop and the library.

Fish Island sunken yard plans - 1:25000

Idea Store

Site Section - Southeast - 1:1000

Site Section - Northeast - 1:1000 59

Laser Machine Tool Factory

Concept Sketch - Contemporary industrial design

Testing through massing models

Andrew Percival

Completing the block allows an integrated design within a single mass, one on a scale with the other developments around the Olympic Park. A focus on research and education in electric vehicle technologies, based on small scale research into and customisation of cars, drives the workshop. The library compliments this. Book-stacks sit in the basement but the main reading room is about discussion and communication rather than private study.

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The final proposal has the two programs of library and workshop separated but intertwined around a shared space in the main reading room. By positioning hybrid and electric vehicle technology within the library an understanding of sustainable living for the future will be encouraged by the standards being set in the workshop below.

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Library Atrium Book-stacks Parts Department Plant and Services Room Reception Vehicular Entrance Main Workshop Laboratory

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Vehicular Lift to 1st Floor Lift to Parts Department Main Reading Room Cafe/Bar Area Quiet Reading Space Quiet Reading/Meeting Space 60

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The structural and constructional aspects of the building are unashamedly interrelated. To allow the brick and glass materiality to work in even large spaces it is arranged around a reinforced concrete frame.

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To achieve tall, thin columns in concrete they must be prestressed. The building employs a Macalloy system which pulls the engineering brick form-work and poured concrete infill into axial compression. This means they are very unlikely to buckle, even under large accidental loads.

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Sizing Macalloy Tension Bars Dead Load on Columns = 10kN/m2 x 1.4 = 14kN/m2 Live Load on Columns = 4.0kN/m2 x 1.4 = 6.4kN/m2 Therefore Total Load = 20.4kN/m2

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Accidental Load = 35kN/m

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F (tension) = 123.2 / 0.220 = 560kN Py for Macalloy = 550H/m2

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So Area = (560 x 10 ) / (0.87 x 550) = 1170.32 3

Diameter of Bar = 2 x (1170.32 / 3.14159)-1/2 = 38.6 = 40mm 17

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Construction Section - 1:500 61

Facade Details - 1:50 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

30mm Concrete Paving Slab 100mm Insulation Parapet Coping Waterproof Layer Steel Drain Cast Into Slab 400mm Reinforced Concrete Slab Fixing Screw Steel Bolt 40mm Diameter Steel Bar Class B Engineering Brick 60mm Thick Double Glazing Panel Poured Concrete Infill 235 x 235 x 20mm Steel End Plate Rubber Based Seal 250 x 150mm Aluminium Transom 10mm Dry Pack 40mm Diameter Macalloy Tension Bar 250 x 150mm Aluminium Mullion Damp Proof Course Paving Slabs Two Layered Gravel Drain Cover Drainage Route 400mm Reinforced Concrete Slab 130mm Insulation Mortar Joint Poured Concrete Foundation

Andrew Percival

Daylight Factor in Reading Room As DF average = (TWdM0 / (A(1-R2))% Using 100m2 as an estimate for internal surfaces reflecting light DF average = (072 x 8 x 140 x 0.8) - (100(1/0.52)) Therefore DF Average = 8.6016%

Natural Ventilation in Atrium Space As Q = A(ga(Ti-Te)h1/2 Workshop and library doors, high level windows open in summer Q = (8(1 x 2) + (2 x 2) + 2(4 x 4)) x ((9.81 x 10-3)(22 18)16)1/2 Q = 72.5m3/2 Workshop and library doors shut and 4 high level windows open in winter Q = (4 x 2) x ((9.81 x 3.1 x 10-3)(18 - 2)2)1/2 Q = 7.89m3/2

In a building that aims to educate in sustainability, the environmental strategy of the building itself is critical. The structural materials have a relatively high embodied energy, however they have long life and will aid the building in its energy consumption throughout the year through their thermal mass.

The interior is zoned into mechanically serviced private study spaces and naturally ventilated large open spaces which, due to the varying levels of opening both high up and low down, will be effective year round.

Remembering the two proposals as one in their context reveals the success of the project in helping to begin the revitalisation of this part of London. They work with the new developments on Fish Island to provide a location of attraction to both residents and visitors. The sporting venue will help to build a community that can learn how to live sustainably and for the future in the library and workshop.

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Central Cambridge aerial view - 1:25000 Urban Structures - 2012 Gonville Place Ice Rink - Cambridge, UK (Course taught by Philip Cooper, Simon Smith & Emily So)

The long tradition of ice skating on Parkers Piece in Cambridge since the 1963 “Big Freeze� has led to a temporary skating venue being put in place for the winter months of every year. There now comes an opportunity to move this tradition forwards into a permanent rink on the edge of the Piece and adjacent to the Kelsie Kerridge Fitness Centre.

The congested urban centre of Cambridge, with its highly protected park areas, has led to a sever lack of space for development. This project is an exploration in structures and of the potential of taking advantage of empty space above existing buildings. The Gonville Place car park allows an exploration of this avenue of construction above street level. The key considerations with the proposal are both the self weight of the structure and its impact on its loads on the car park below (both in terms of downwards force and wind loading).

Approaching this technical and challenging task might set an example for future opportunities for development within Cambridge.

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Structural grid plan - 1:1000

Gonville Place car park section - 1:500

Andrew Percival

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Northern view over Parkers Piece

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Reception Skating Hall Changing Rooms Skate Off Area

Upper Floor Plan 5 Viewing Gallery 6 Seating Area Structural Model 64

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Analysing two key elements shows how the whole structure works through arches in compression offset by a cable in tension. The cable prevents the arch from tipping over the side of the car park.

The glulam beams carry the forces straight into the concrete frame below, in most instances by joining directly with column heads.

Half Arch/Beam Dead Load = 1.1kN/m2 Live Load = 0.7kN/m2

Full Unfactored Load = 1.8kN/m2 = 2.0kN/m2

Therefore Factored Load = 3.0kN/m2

UDL = Fx x = Total Area / Span x = 255m2 / 24m x = 6m This Gives UDL = 3.0 x 6 = 18kN/m Treat beam as a propped cantilever W = 18kN/m L = 42m M = WL2 / 8 M = oZ (Z being Section Modulus) C24 Grate Timber (as glulam) - o(allow) = 7.5N/mm2 Z(required) = 3969x106 / 7.5Nmm2 = 529.2x106mm3 As Z = bd/6 Two members each 500mm wide d2 = (6 x 529.2x106) / 1000mm d = 1800mm (rounded) (also checked with deflection calculations and yield stresses)

Also calculated Tension Cable - 100mm Diameter (Area = 7.85 x 10-3m2) And checked cable against wind loads of 781N/m2

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Andrew Percival

Raising the rink high above street level means the challenge to give it a presence from both the road and Parkers Piece is great. By bringing some structure down the outside of the car park facade it is given this necessary relationship with passers by.

An organic form created from an interlocked glulam half-arch structure leans over the edge of the car park. This allows skaters to look down at the world below from the large viewing window on the Northwest edge of the rink. Glulam is chosen due to its superb performance in spanning large distances, particularly over sports venues. It can also be relatively lightweight compared to some other structural systems which should be helpful when considering the transfer of loads through the car park below.

Fitting a full size rink for both skating and amateur ice-hockey means that it must be set across the diagonal with slight cantilevers over the edge of the car park. Due to this overhang some of the loading must be transferred laterally to the columns below.

Reinforcing the sub-structure allows the system of compression arches and tension cables to clamp itself to the car park whilst fitting all of the required programs within the limited floor space.

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Chapter 3 - Other

Sketch Study of Hand - Pencil

Piano Study - Pen & Ink

Art - 2009 - 2015 A Collection of Artworks

Artistic documentation can come in many forms. These include quick sketches, stylised interpretations, and detailed representations.

Employing all types of technique can help to give a rounded understanding of subjects on multiple scales and put one in the best position to develop design work further based on them. A variety of sources, such as life drawing, still life and artistic precedents, can be used in the analysis process to help inspire further design and interpretation.

These studies were carried out largely with the ambition of becoming more comfortable and familiar with the techniques used throughout my architectural design work. Some are individual studies whereas others are parts of artistic deign projects aimed at producing standout pieces following a period of exploration into medium and content.

Life Drawing Studies - Watercolour 67

Andrew Percival

Horse-Racing Study - Charcoal - After “George”, Sean McMahon

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Horse-Racing Studies - Charcoal 69

Riding Study - Pencil

Andrew Percival

“Bullfighting” - Acrylics on Canvass

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Roses Study - Pencil

Crystal Study - Ink & Wash with Bleach

Autumn Leaves Study - Pencil

Crystal Study - Watercolour

Andrew Percival

Transparency Lamp Detail - Porcelain

Transparency Lamp - Porcelain

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Ice Study - Ink & Wash with Bleach 73

Ice Study - Watercolours with Bleach

Blue Mountain - Styrofoam & Paint

Andrew Percival

The principle of resolution is key to architecture. Only by both effectively documenting and resolving the issues of a project with respect to its context, program and obstacles can a satisfactory conclusion be met. The principles of artistic development translate readily across into the architectural profession, as do the important technical and graphic skills themselves. “Blue Wave� - Plaster Sculpture 74