View from west
A Room for London
Position We located the project on the edge of the building, because we need to be as much as possible on north, to see Big Ben (on the left, almost hidden by the Royal Festival Hall), and Saint Paul’s Cathedral (on the right side almost hidden by the National Theatre) and to be seen by the people as a new landmark, so the closer we install the structure to the out line of the roof more people will see it. We want to find more points of view related to Dialog with the building the London’s landmarks at the same time to create a new The room is expected to change location, but it will spot in the city’s landmark. (diagram 3) always keep the memories of its first address. The This position also avoids a cantilever solution that would project was designed to play with the surrounding brutal- be too complex and expensive to construct in this kind of ist architecture, as the National Theatre, a building that light material. The room is grabbing the North West coris a clever way of building a nuclear power station in the ner, and from the Waterloo Bridge we will see the room middle of London without anyone objecting. This premise entrance. The deeper the guest is going in the quieter can be applied to the room, seems to be there without the area around is. In this way the room is protected from any permission. The design is based on sharp angles noise pollution, more than any wide expensive insulation and its repetition, which could be clearly identified as the system. brutal architecture tools. (diagram 2) We are proposing a room that grabs the corner of the south bank centre. Our idea was to create a body in the roof, acting like a living organism finding different views of the city. In this way its articulated body adapts to the building’s shape. (diagram 1) We would like to make people wondering what is that shape on the roof.
Diagram 3
Diagram 1
A Room for London
Diagram 2
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a’
Site plan 1/500
Plan 1/100 a b’
b
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Diagram 4
Back and Front There is a permanent dialog between the building, the surroundings and the city. The dialog with the surroundings is achieved by using the same brutalist language. With the city we achieved this dialog playing with the dichotomy of back and front facades of the standard terraced houses that we can find in London. In these houses the front with its cornice hides the pitched roofs (back facade), two architectures systems which ignore each other. This is expressed in the transversal section. The project is playing with this representation, the section prevails to define its identity (diagram 4), and the end terrace is a specific response (entrance patio and chimney in the room). Orientation The project is assuming an orientation. The north is the front, with the views on the Thames, the room is dripping over the building, the south is closed from view and we use chimneys to get light in.
Section aa’ 1/200
A Room for London
View from inside of the bed room
Section bb’ 1/200
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View from Queen Elizabeth Hall
Diagram 5
Diagram 6
A Room for London
Sustainability In order to do sustainable project we need to think in the all life cycle of the building. This project is really specific because it is temporary and can be moved for different locations, so adaptation and easy assembly are two essential things. During the design process we thought in easy ways of assemble and disassemble. (diagram 5) The building it’s composed by two bodies that follow the same section connected buy an articulation that allow an easy adaption to different situations, so we use all the time the same skeleton. The bodies are made of a simple steal structure where we attach the different chimneys that go up and down. The ones that go up capture the sun and make it slide in side providing light and heat, the ones that go down focus on the different views that you can have from the top of Queen Elizabeth Hall but just two of them make part of the inside space and needed to be insulated. (diagram 6) This simple structure and this two articulated bodies gave us the inside configuration. We placed the entire fixed program in the two static bodies (bed room, toilets and living room) to allowed the rest of the space to be flexible for the two patios. In terms of construction materials we want to use pre-fabricated and standardized materials which can be easily assembled and recycled. With this kind of materials we want to avoid waste as much as we can and other pollutants that normally we produced in the construction site.
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ANA Maria FERREIRA Flat 3, 412 Kingsland Road, E8 4AA T: 07939801381 E: am.aganteferreira@gmail.com Ordem dos Arquitectos Portugueses (Portuguese Architect Association) n. 18488 N 2009/2010
Junior Architect/ Architect in Joao Mendes Ribeiro, Arquitecto Ltd, Coimbra, Portugal. Collaboration in the project of School D. Nuno Alvares, in Castelo Branco, Portugal. Collaboration in the construction stage of a family house, Oleiros, Portugal. Collaboration in the scenography for Madame Butterfly Opera, Portugal. Collaboration in the furniture table Tomas, for Remade, Portugal.
Antoine PASCAL 124 C Packington street , N17EA London T: 0756 337 4443 E: antoinepascal84@gmail.com 2008 Louis-Vuitton, architecture dpt: Prada store in China 2009 P. Berger & J. Anziutti Architectes: 2009 The Chaumont-sur-Loire Festival, International garden competition - a garden grounded on the potato experimentation. ANTONIO MIGUEL GONCALVES Flat 3, 412 Kingsland Road, E8 4AA T: 07985118053 E: miguelgoncalves9@gmail.com 2009/2010 Worked the last 11 months in collaboration with Antoine Pascal for Brisac & Gonzalez architects, London, United Kingdon Participation in the competition "Bibliothèque cantonale et universitaire de Fribourg", Fribourg, Switzerland Participation in the shortlisted competition “Opera and Culture House”, Kristiansund, Norway Participation in the shortlisted competition “Pole Musical CNR de Six-Fours-Les-Plages”, Six-Fours-les-Plages, France Participation in the shortlisted competition for social housing in“63-69 boulevard de Charonne, 11 arrondissement” Paris Anthony THEVENON Rua Garcia da Orta, 56 - 3esq. , 1200-680 Lisboa (Portugal), T: +351 910 629 497, E: anthonythevenon@gmail.com Starts working for Atelier Jean Nouvel, Paris, France. Participation and construction of the Art Basel Miami Beach 2007 Stand for Fondation Cartier Participation in the project New Qatar National Museum, Doha, Qatar First prize in the competition Atlantic 3000 casino complex, LA, USA Starts working for Promontorio Arquitectos, Lisbon, Portugal. Mentioned in the ENYA competition HB:BX Building Cultural Infrastructure The High Bridge, New York, US Participation in the competition Al-Assad Culture and Arts Center, Aleppo, Syria in collaboration with Promontorio arquitectos.
2007/2008
2009 2010 2010
View from Golden Jubilee Bridge
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