Fitzpatrick, Emma by Architecture@LJMU

Emma Fitzpatrick

2020 Portfolio Master of Architecture

Liverpool School of Art and Design

2020 Portfolio Emma Fitzpatrick

ABOUT ME As a recent MArch graduate from Liverpool John Moores University, I am now looking to complete my Part II qualification. Through the MArch, previous education and practice experience, I have honed my skills as both an independent and team worker. With projects on social housing, urban design and re-purposing of existing structures, I have demonstrated adaptability and an eagerness to engage in all aspects of architecture. I am thoughtful and creative, and appreciate the joyfulness that can come from hard work. I am meticulous in my approach to historic and cultural context, and how this influences architecture. I enjoy art and graphic design, and consider myself a responsible and attentive designer.

Thank you for taking the time to view my portfolio. 2

Emma Fitzpatrick 2020 Portfolio

CONTENTS 04

DE FABRIEK

MArch Year 2 Thesis Project Ghent

DEFINIEER DE RAND

TURNPIKE GALLERY

FORGOTTEN SPACES

PARK ROAD INTER-GENERATIONAL

A STUDY OF LIVERPOOL

MYSTIKOS KIPOS

REDISCOVERING ELEUSIS

100

CURRICULUM VITAE

MArch Year 2 Group Urban Design Ghent MArch Year 2 Management, Practice and Law Live Project MArch Year 1 RIBA Design Charette Regenerating Bootle Strand MArch Year 1 Building Design Social Housing MArch Year 1 Specialist Study

MArch Year 1 Individual Urban Design Elefsina MArch Year 1 Group Urban Design Elefsina

2020 Portfolio Emma Fitzpatrick

THESIS PROJECT

ABSTRACT The thesis explores the role of the industrial museum in todayâ&#x20AC;&#x2122;s landscape of social and technological change. With rapid developments in technology causing society to adapt alongside it, traditional museums have stayed static. This poses the question; how can museums remain relevant today? The museum, as an institution, is at the core of society. It plays a vital role in society, through democratisation and education, and the preservation of the past for future generations. Particularly, the interest for this thesis is the way in which museums can use the past to build the future, with advancing new media that is now available. A study of smart technologies, like augmented reality, shows the opportunities for innovation within the museum context. For a while, technology has been available in museums, in the form of audio-guides, filmed exhibits and phone apps. In a sense, augmented reality is simply the next iteration. Another strand of exploration for the thesis is the adaptive re-use of industrial buildings. Celebrating the rich industrial heritage of Ghent, the thesis looks at the re-purposing of the Inter-Beton concrete plant, in the Oude-Dokken area. Further to conserving natural resources and reducing new build materials as a benefit from an environmental aspect, the preservation of such buildings is in turn preserving the history of the place. 4

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

THESIS PROJECT LOCATION The project site, of the Handelsdok area in Ghent, was once the industrial core of the city. Situated on the rivers Scheldt and Leie, Ghent’s earliest existence goes right back to the Late Middle Ages. Its fortunate position on two rivers brought Ghent strong trade and therefore significant wealth. Its main exports were in the textile industry, following the smuggling of the Spinning Jenny into Liege in 1798. From 1863 the expansion of Ghent’s water network began, with new canals and docks to support the city’s

Emma Fitzpatrick 2020 Portfolio

city’s booming industry. As well as demand for accommodating larger ships and increased volume of trade, population increase and urban sprawl meant that the dock infrastructure was gradually pushed further north, away from the historic centre. This left the Handelsdok area somewhat abandoned, with scattered industry buildings lying empty, and a general haunting echo left over from the former industrial buzz. An increased demand for expanding the city’s edge, specifically habitable places pp

for the rapidly growing population, presented the Handelsdok area with an opportunity for regeneration. Stadgent have already outlined a detailed strategy for the area’s metamorphosis, entitled Nieuw Leven in de Oude Dokken (New Life in the Old Docks), involving new housing, offices and retail, new landscaping in the form of parks, green spaces and a waterfront promenade. The focus at the centre of all this regeneration is celebrating the area’s heritage.

Belgium

East Flanders

Ghent

2020 Portfolio Emma Fitzpatrick

THESIS PROJECT CONTEXT The chosen site for the Thesis is part of the masterplan’s creative district. Defined by a square of small business set-up studios and workshops, a creative exhibition centre and the existing InterBeton cement factory, this site’s close proximity to the water and tram network makes it a plausible site for further individual development. The Thesis scheme has the opportunity to engage with the water, and the promenade. Currently proposed on the water are small floating exhibition spaces, something to be explored within the Thesis. Specifically, the scheme looks to develop the creative exhibition centre, and the existing, derelict, Inter-Beton cement factory. As well as being located on the water’s edge, the building can be approached from all axes. Located behind the site is a public square, housing an amphitheatre. The aim is to adapt the form of the currently proposed creative exhibition centre, to allow engagement with the adjacent abandoned cement silos. 8

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

THESIS PROJECT

INITIAL INTERVENTIONS 1. Removal of infill brick walls 2. Removal of secondary structures 3. All demolition complete

DESIGN INTERVENTIONS 4. Metal mesh cladding on old structures 5. New museum building 6. New connecting steel bridges

PUBLIC REALM INTERVENTIONS 7. Covered sunken square 8. Open-air sunken square 9. New entrance pavilion

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

THESIS PROJECT

SERIAL VISION

1. Pedestrian approach First view of De Fabriek

1. Tram approach First view of De Fabriek

Emma Fitzpatrick 2020 Portfolio

2. Pedestrian approach View of De Fabriek opens up

2. Tram approach Arrival at De Fabriek tram stop

main facade

3. Pedestrian approach View of De Fabriek entrance pavilion

. Tram approach First view of special exhibition hall

4. Pedestrian approach View of sunken square from entrance pavilion

4. Tram approach Approach on foot into the special exhibition hall

2020 Portfolio Emma Fitzpatrick

THESIS PROJECT

THE CONCEPT

1. The ritualistic process of rising up from below ground, symbolic of the aggregate weigher and conveyor belt in the concrete making process.

2. Sunken public square in front of museum to create a sense of grandeur of the focal facade (silos).

Emma Fitzpatrick 2020 Portfolio

CIRCULATION AXONOMETRIC The main concept of the scheme is taking the visitor along a route which follows the process of the old concrete factory. The diagram aims to explain the circulation through the museum, where visitors begin at basement level, and from ground level are transported right up to the third floor, from where they begin their winding route down through the museum exhibits. This is symbolic of the concrete factory materials being transported up a conveyor belt, from an aggregate mixer to mixing silos, from where they naturally gravitate down as they settle.

DE FABRIEK CIRCULATION GALLERIES AND EXHIBITION SPACES STAFF AREAS, RESEARCH FACILITIES AND STORAGE SPACES (PRIVATE) SPECIAL/TEMPORARY EXHIBITION SPACES GIFT SHOP PAVILION CAFE MAIN PUBLIC MUSEUM ROUTE ACCESSIBLE PUBLIC MUSEUM ROUTE STAFF ROUTE ROUTE TO SPECIAL/TEMPORARY EXHIBITIONS

2020 Portfolio Emma Fitzpatrick

Concept collage View from boardwalk on Schipperskaai

Emma Fitzpatrick 2020 Portfolio

Concept collage View through landscaping on Koopvaardijlaan

2020 Portfolio Emma Fitzpatrick

THESIS PROJECT BASEMENT AND GROUND FLOOR As the most significant floors of the scheme, the basement in particular is the main access into the museum. After following through the entrance pavilion at ground level, visitors are taken down into the first sunken square, welcomed by the grand facade of the 4 silos, and the curious forest-like nature of the columns extending down into the basement from the vast height of approximately 10m above ground. From here, visitors arrive at another square. This time, it is covered, with the only skylight subtly guiding visitors into the atrium entrance. At the external ground level, visitors have access to the special exhibition hall, located below the old control rooms of the concrete factory. Clad with an expanded metal mesh, like all the other remaining existing factory structures, this space will be light and airy, and will hold varying special exhibitions, easily accessible to the public. 18

Emma Fitzpatrick 2020 Portfolio

FIRST FLOOR

FIRST FLOOR Another fundamental part of the scheme, the first floor holds most of the museumâ&#x20AC;&#x2122;s circulation. New steel bridges connect the galleries in the new building and the projection halls in the silos.

GROUND FLOOR

BASEMENT 2020 Portfolio Emma Fitzpatrick

Thesis Project 20

Emma Fitzpatrick 2020 Portfolio

AXONOMETRIC

SECTION

STUDY

An exploration of the public realm surrounding the concrete factory. Using soft and hard landscaping to define the three implied zones. At the water’s edge, the timber boardwalk is defined by the concrete steps and the tramline. The central zone, where the museum sits in the concrete factory, is defined by orange terrazzo paving. This floor finish suggests an area that is part of the museum’s public realm. The third zone is defined by soft landscaping, with grass, shrubs and trees. This connects the surrounding green areas, and contributes to the group masterplan’s aim to create a green network on the east side of the water. 2020 Portfolio Emma Fitzpatrick

WEST-EAST

SECTION

STUDY

An exploration of the museumâ&#x20AC;&#x2122;s public realm and how it interacts with the subterranean levels of the scheme. From this level, the network of underground spaces becomes more evident, and is an echo to the former subterranean structures that once stood as part of the concrete factory process.

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

SOUTH-NORTH SECTION STUDY A study showing the interaction between external and internal spaces of the scheme. As evening arrives, the museumâ&#x20AC;&#x2122;s function changes. The sunken square becomes a performance and meeting space, with the opportunity to experience the museumâ&#x20AC;&#x2122;s exhibitions by night.

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

View from bridge at Dok-Noord

Emma Fitzpatrick 2020 Portfolio

View from boardwalk on Schipperskaai

2020 Portfolio Emma Fitzpatrick

THESIS PROJECT

The fundamental part of the existing concrete bridge is the metal mesh second skin, and ensuring the internal space will be sufficiently insulated and

STRUCTURAL AND CONSTRUCTIONAL RESOLUTION The structural and constructional strategy for De Fabriek looks at the two different bridge types proposed: the renovation of the existing concrete bridge, and the addition of steel viriendeel truss bridges, with full height glazing. The bridges connect each of the three vertical elements, and are a key part of the museum circulation. The fundamental part of the existing concrete bridge is the metal mesh second skin, and ensuring the internal space will be sufficiently insulated and watertight. The notion of maintaining the original exposed concrete interior meant using external insulation. The roof overhands meant that this could be easily accommodated, filling the gap between the new metal mesh, cladding and the existing concrete walls. The focus of the steel bridges was exploring truss possibilities, from which a viriendeel truss structure is proposed. The bridge was designed from the inside, out. This provided an enclosed space, with full height glazing containing all services, handrails, lighting and an exposed steel structure on the exterior. Studies were done to consider the viriendeel design, to accommodate waterproofing and guttering. Overall, the main focuses were to ensure no cold-bridging, due to the use of exposed concrete, providing a comfortably insulated public space, and to design a structurally safe bridge that adds interest to the project. 28

Emma Fitzpatrick 2020 Portfolio

TECHNICAL RESOLUTION SECTION 1:50

a viriendeel truss structure is proposed. The bridge was designed from the inside, out. This provides an enclosed space, with full height glazing

ex an

xisting exposed concrete, providing a comfortably insulated public space, nd to design a structurally safe bridge that adds interest to the project.

crete interior this could be esh cladding

, from which signed from eight glazing

containing all services, handrails, lighting, and an exposed steel structure on the exterior. Studies were done to consider the viriendeel design, to accomodate waterproofing and guttering. Overall, the main focuses were to ensure no cold-bridging, due to the use of existing exposed concrete, providing a comfortably insulated public space, and to design a structurally safe bridge that adds interest to the project.

CONCRETE BRIDGE ELEVATION STUDY 1:20

STEEL BRIDGE ROOF STUDY 1:20 1. 20mm gypsum ceiling board, skimmed and painted 2. 150mm light steel ‘Z’ purlins with 150mm mineral wool insulation

CONCRETE BRIDGE ELEVATION STUDY 1:20

3. Breather membrane 4. Waterproof roof deck 5. Light steel ‘C’ sections fixing ‘Z’ purlins through to top steels 6. Gutter in roof deck with slight fall to allow run-off 7. Primary 300x300mm STEEL BRIDGE ROOF STUDY 1:20steel beams Angleceiling window frame fixed to end plate 1. 20mm8. gypsum board, skimmed and painted 2. 150mm steel ‘Z’ purlins with 150mm mineral wool insulation 9.light Triple-glazed window 3. Breather membrane 4. Waterproof roof deck 5. Light steel ‘C’ sections fixing ‘Z’ purlins through to top steels

6. Gutter in roof deck with slight fall to allow run-off 7. Primary 300x300mm steel beams 8. Angle window frame fixed to end plate 9. Triple-glazed window

CONCRETE BRIDGE GUTTER DETAIL 1:10

1. 50mm epoxy resin floor finish 2. 100mm screed with electric underfloor heating tubes

CONCRETE BRIDGE SECTION STUDY 1:20

STEEL 4BRIDGE FLOOR STUDY 1:20 7 5 8 1. 20mm engineered6 oak floorboards

2. 19mm gypsum-based board

3. Existing 200mm concrete structure

STEEL BRIDGE FLOOR STUDY 1:20

4. Vapour membrane 1. 50mm epoxy resin floor finish

Battens with mineral wool insulation 1. 20mm4. engineered oak floorboards

5. 200mm mineral woolwith insulation 2. 100mm screed electric underfloor heating tubes

20mm OSB board decking board 2. 19mm5. gypsum-based

6. Breather membrane 3. Existing 200mm concrete structure

6. 150mm light steel ‘C’ sections fixed to OSB with 150mm mineral wool insulation 3. Shadow-gap spotlight

4. Vapour membrane 7. Expanded metal mesh cladding fixed to lightweight steel frame

4. Battens mineral wool insulation 7.with Breather membrane

CONCRETE BRIDGE SECTION STUDY 1:20

3. Shadow-gap spotlight

5. 200mm mineral wool insulation

5. 20mm8. OSB decking Steel plateboard fixed to large light steel ‘C’ joists

6. Breather membrane

6. 150mm light steel ‘C’ sections fixed to OSB with 150mm mineral wool insulation

7. Expanded metal mesh cladding fixed to lightweight steel frame

7. Breather membrane

9. Secondary steel fixed to small light steel ‘C’ joists 10. Primary 300x300mm steel beams

8. Steel plate fixed to large light steel ‘C’ joists

9. Secondary steel fixed to small light steel ‘C’ joists 10. Primary 300x300mm steel beams

STEEL BRIDGE ELEVATION STUDY 1:20 1:20 STEEL BRIDGE ELEVATION STUDY

2020 Portfolio Emma Fitzpatrick

GROUP URBAN DESIGN SIXTH YEAR 30

Emma Fitzpatrick 2020 Portfolio

DEFINIEER DE RAND Redefining the edge

Group project with Oliver Moran

BRIEF Closer to the city centre the Handelsdok area of Ghent is a combination of industrial activities, now largely redundant, interspersed with established and continuous residential districts. This mix of uses results in significant physical scale shifts over short distances. Some redevelopment of former industrial and dock structures has started around the power station but this process is far from complete. The problem here is one of stitching together and enhancing established neighbourhoods, reconciling new functions amongst residential areas. To the east of this district the Handelsdok provides a substantial piece of open water which, as a result of transport infrastructure, currently lacks significant connection to its hinterland.

2020 Portfolio Emma Fitzpatrick

GROUP URBAN DESIGN Filling in the gaps rather than starting fresh

Regenerating derelict spaces and building to give them a new purposed

Embracing the areas identity and character, rather than reforming it

Knitting into the existing urban

fabric harmoniously, respecting what is

INTENSIFICATION &

DESIGN FOR HUMANS, NOT MACHINES

DIVERSIFICATION New infrastructure and transport networks

Large scale de-

Cycle networks that help people move people through the site and city

already there

INTERVENTIONS AT DIFFERENT SCALES

Encourage people to be active by designing good walking & cycling routes

MANIFESTO

industrialisation of the area to make way for more

sustainable areas closer to the city

To design places where activities can take place which include all members of society Design mixed residential blocks where people live and integrate with others 32

Emma Fitzpatrick 2020 Portfolio

HEALTHIER CITY

SOCIAL INCLUSION

Giving the streets back to the

residents making them places where people meet

Improving the green & blue areas of the city to improve air quality and reduce stress

Pedestrianised zone designed to function without cars

Improving public transport networks to create a more sustainable city

Designing places that promote well-being & self care to improve mental health

DESIGN INTERVENTIONS

Repurposing old bridge arches as a space for markets, bars and childrensâ&#x20AC;&#x2122; play.

Repurposing redundant cranes and structures as meeting places, keeping them part of the landscape and street scene.

Repurposing old grain storage bunkers as event spaces.

Stitching existing fabric together with new residential, and pedestrianising streets to increase comfort and mobility. 2020 Portfolio Emma Fitzpatrick

GROUP URBAN DESIGN SKETCH PROPOSAL

Filling in the gaps of the existing block to create a more dense urban fabric

Emma Fitzpatrick 2020 Portfolio

Creation of a large urban park containing new facilities for public use in the existing industrial area

Creation of a large urban park containing facilities for public use in the existing industrial area

Proposal of a creative and social district around the old cement factory

Activate the waterfront with an accessible prom enade and other activities

Activate the waterfront with an accessible promenade and other activities

Filling in the gaps of the existing block to create a more dense urban fabric

Creation of a large urban park containing new facilities for public use in the existing industrial area

Proposal of a creative and social district around the old cement factory

Activate the waterfront with an accessible promenade and other activities

Redirect the R40 to the other side of the dock so Redirect the R40 to the other the waterfront becomes accessible

Extension of the existing tram and public transExtension of the existing tram port network to make the area easily accessible and public transport network to make the area easily accessible

Create new cycle network making it easy to Create new cycle network reach all areas of the site

mDesign a pedestrian/cycle/tram bridge to conDesign a pedestrian/cycle/tram nect the new park and create area to the city

bridge to connect the new park and creative area to the city

side of the dock so the waterfront becomes accessible

making it easy to reach all areas of the site

CONCEPT IDEAS

2020 Portfolio Emma Fitzpatrick

GROUP URBAN DESIGN THE MASTERPLAN

The group masterplan looked at interventions at a range of scales. The primary proposal was to relocate the R40, the large busy road that cut through the site, to the other side of the water. In addition to our enforcement of the City of Ghent’s plan to eradicate the car in the city completely, this R40 intervention created a new edge to the city, and gives the opportunity for the area to be designed at human scale. Secondly, we proposed to increase density in the district. Research showed that the population in the area was declining, and in an effort to combat the urban sprawl taking place, we used density calculations to determine how much residential build was required to achieve our desired population. Housing more people in the district would start a regeneration, with new jobs and recreational facilities provided, allowing the area to thrive and develop its own identity. Fundamental influences on the design were the area’s cultural and industrial heritage, and responding to Ghent’s mobility plan for the sustainable future of a liveable and engaging city. 36

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

GROUP URBAN DESIGN VISUALISATIONS

A series of axonometric studies to show the programme of the masterplanâ&#x20AC;&#x2122;s main spaces. The cultural district is defined by the repurposing of existing industrial structures. CULTURAL DISTRICT The Inter-Beton concrete plant and its surrounding public square formed the centre of the cultural district, with the concrete factory becoming a monument on the waterfront, surrounded by independent food and drink markets, and exhibition spaces. RESIDENTIAL AND LEISURE Residential blocks enclose new green spaces, which can serve the local residents and visitors. The design encourages frequent markets, and gatherings. FOOTBALL SQUARE A large screen features in a public square, for outdoor events like sports, film viewings and live performances. 38

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

GROUP URBAN DESIGN

RESIDENTIAL AND LEISURE

THE FOOTBALL SQUARE 40

Emma Fitzpatrick 2020 Portfolio

high high high speeds high speeds speeds speeds

back-to-back back-to-back back-to-back back-to-back

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TO REPEL TO REPEL TO REPEL TO REPEL

TO INVITE TO INVITE TO INVITE TO INVITE

Urban Design 7221 Urban Design Design 7221 7221 Urban Urban Design 7221

deﬁ nieer de deﬁnieer de rand rand

REDEFINING EDGE REDEFINING THE THE EDGE deﬁ deﬁnieer nieer de de rand rand

long long long distances long distances distances distances

lowlow speeds lowlow speeds speeds speeds

face-to-face face-to-face face-to-face face-to-face orientation orientation orientation orientation

Lynch’s Lynch’s Lynch’s Lynch’s citycity city image city image image image elements elements elements elements

http://www.parempimaailma.net/methods/mental-maps/ http://www.parempimaailma.net/methods/mental-maps/ http://www.parempimaailma.net/methods/mental-maps/ http://www.parempimaailma.net/methods/mental-maps/

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IDENTIFYING IDENTIFYING IDENTIFYING IDENTIFYING PROBLEMS PROBLEMS PROBLEMS PROBLEMS FROM FROM FROM FROM SITE SITE SITE SITE ANALYSIS ANALYSIS ANALYSIS ANALYSIS

INTERVENTIONS INTERVENTIONS INTERVENTIONS INTERVENTIONS AT AT AT AT DIFFERENT DIFFERENT DIFFERENT DIFFERENT SCALES SCALES SCALES SCALES

population population population population decrease decrease decrease decrease

Ghent Ghent Ghent Ghent

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Sluizeken-Tolhuis-Ham Sluizeken-Tolhuis-Ham Sluizeken-Tolhuis-Ham Sluizeken-Tolhuis-Ham

Central Green Spaces Central Central Central Green Green Green Spaces Spaces Spaces

THEORETICAL THEORETICAL THEORETICAL THEORETICAL STUDIES STUDIES STUDIES STUDIES Jan Jan Jan Jan Gehl Gehl Gehl Gehl

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“First life, then spaces, then buildings” “First life, life, then then spaces, spaces, then then buildings” buildings” “First “First life, then spaces, then buildings”

New New New public New public public public transport/cycle transport/cycle transport/cycle transport/cycle routes routes routes routes

Human Human Human Human Dimension Dimension Dimension Dimension = Scale ==Scale Scale = Adapted Scale Adapted Adapted Adapted to to Human toHuman to Human Human Senses Senses Senses Senses The The The The re-direction re-direction re-direction re-direction of ofofthe ofthe thethe main main main main arterial arterial arterial arterial road/total road/total road/total road/total pedestrianisation pedestrianisation pedestrianisation pedestrianisation of of our ofour of our site our site site will site will will encourage will encourage encourage encourage better better better better human human human human interaction, interaction, interaction, interaction, as as people aspeople as people people walk/cycle walk/cycle walk/cycle walk/cycle rather rather rather rather than than than drive. than drive. drive. drive. Human Human Human Human interaction interaction interaction interaction increases increases increases increases as as speed asspeed as speed speed and and and distance and distance distance distance decrease. decrease. decrease. decrease.

nono walls nowalls no walls walls

walls walls walls walls

short short short distances short distances distances distances

long long long distances long distances distances distances

lowlow speeds lowlow speeds speeds speeds

high high high speeds high speeds speeds speeds

face-to-face face-to-face face-to-face face-to-face orientation orientation orientation orientation

back-to-back back-to-back back-to-back back-to-back

As you move into the city AsAs As you you you move move move into into into the the the city city city the size of the green spaces the the the size size size ofofof the the the green green green spaces spaces spaces decreases signifi signifi cantly. decreases decreases decreases signifi signifi cantly. cantly. cantly. They are usually in-front They They They are are are usually usually usually in-front in-front in-front ofofofof important building at the important important important building building building ororor ator atat the the the side roads/tramlines. side side side ofofroads/tramlines. ofof roads/tramlines. roads/tramlines.

DISCONNECTED DISCONNECTED DISCONNECTED DISCONNECTED GREEN GREEN GREEN GREEN NETWORK NETWORK NETWORK NETWORK

Kevin Kevin Kevin Kevin Lynch Lynch Lynch Lynch

Pedestrian zone Pedestrian Pedestrian Pedestrian zone zone zone

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Cycle Cycle Cycle Cycle networks networks networks networks that that that that help help help help people people people people move move move move people people people people through through through through the the the the site site site and site and and city and city city city

DESIGN DESIGN DESIGN DESIGN FOR FOR FOR FOR HUMANS, HUMANS, HUMANS, HUMANS, NOT NOT NOT NOT MACHINES MACHINES MACHINES MACHINES

New New New New infrastructure infrastructure infrastructure infrastructure and and and and transport transport transport transport networks networks networks networks

-1.37% -1.37% -1.37% -1.37%

Belgium Belgium Belgium Belgium

Knitting Knitting Knitting Knitting into into into into the the the the existing existing existing existing urban urban urban urban fabric fabric fabric fabric harmoniously, harmoniously, harmoniously, harmoniously, respecting respecting respecting respecting what what what what is isis is already already already already there there there there

INTENSIFICATION INTENSIFICATION INTENSIFICATION INTENSIFICATION &&&& DIVERSIFICATION DIVERSIFICATION DIVERSIFICATION DIVERSIFICATION

+12% +12% +12% +12%

POPULATION, POPULATION, POPULATION, POPULATION, DENSITY DENSITY DENSITY DENSITY &&& SPRAWL & SPRAWL SPRAWL SPRAWL

Ghent’s population increasing aquick quick rate, with Ghent’s Ghent’s Ghent’s population population population is isincreasing is is increasing increasing atatat a at aquick a quick rate, rate, rate, with with with a aa a Ghent Ghent Ghent Ghent population population population population increase increase increase increase (last (last 20 (last 20 years) 20years) 20 years) years) lot of migrants and students choosing to move there. (last lotlot lot of ofof migrants migrants migrants and and and students students students choosing choosing choosing tototo move move move there. there. there. To accommodate this, the central areas are increasing ToTo To accommodate accommodate accommodate this, this, this, the the the central central central areas areas areas are are are increasing increasing increasing in density. Suburban areas are also being developed. ininin density. density. density. Suburban Suburban Suburban areas areas areas are are are also also also being being being developed. developed. developed. However, this isnot not what the city wants. They plan make However, However, However, this this this is is not isnot what what what the the the city city city wants. wants. wants. They They They plan plan plan toto make toto make make the city work around the central areas to reduce urban the the the city city city work work work around around around the the the central central central areas areas areas tototo reduce reduce reduce urban urban urban sprawl. sprawl. sprawl. sprawl. Sluizeken-Tolhuis-Ham Sluizeken-Tolhuis-Ham Sluizeken-Tolhuis-Ham Sluizeken-Tolhuis-Ham

Onlyslight slightconnection connection Only Only Only slight slight connection connection between some of the green between between between some some some ofofof the the the green green green spaces, which are essentially spaces, spaces, spaces, which which which are are are essentially essentially essentially just tramlines with grass just just just tramlines tramlines tramlines with with with a agrass a agrass grass embankment. embankment. embankment. embankment.

MANIFESTO MANIFESTO MANIFESTO MANIFESTO

Large Large Large Large scale scale scale scale dedededeindustrialisation industrialisation industrialisation industrialisation ofof the ofthe ofthe the area area area area toto make toto make make make way way way way for for for for more more more more sustainable sustainable sustainable sustainable areas areas areas areas closer closer closer closer toto the toto the the city the city city city

Lack Lack Lack Lack ofofConnectivity ofof Connectivity Connectivity Connectivity ToTo To design To design design design places places places places where where where where activities activities activities activities can can can take can take take take place place place place which which which which include include include include allall allall members members members members ofof society ofsociety ofsociety society

Pedestrianised Pedestrianised Pedestrianised Pedestrianised zone zone zone zone designed designed designed designed toto function toto function function function without without without without cars cars cars cars

Encourage Encourage Encourage Encourage people people people people toto toto bebe be active be active active active byby by designing by designing designing designing good good good good walking walking walking walking && cycling &cycling &cycling cycling routes routes routes routes

HEALTHIER HEALTHIER HEALTHIER HEALTHIER CITY CITY CITY CITY

SOCIAL SOCIAL SOCIAL SOCIAL INCLUSION INCLUSION INCLUSION INCLUSION

Designing Designing Designing Designing places places places places that that that that promote promote promote promote well-being well-being well-being well-being & &&& self self self care self care care care toto improve toto improve improve improve mental mental mental mental health health health health

SHIFT SHIFT SHIFT SHIFT ININ IN MOBILITY IN MOBILITY MOBILITY MOBILITY

Paths Paths Paths Paths | Edges | Edges | Edges | Edges | Districts | Districts | Districts | Districts | Nodes | Nodes | Nodes | Nodes | Landmarks | Landmarks | Landmarks | Landmarks Our Our Our site Our site site has site has has itshas its natural itsnatural its natural natural edges edges edges edges of of the ofthe of the waterfront the waterfront waterfront waterfront and and and densely and densely densely densely populated populated populated populated blocks blocks blocks blocks to to the tothe to east, thethe east, east, with east, with with the with the railway thethe railway railway railway to to the tothe to west. thethe west. west. west. Its Its existing Itsexisting Its existing existing landmarks landmarks landmarks landmarks include include include include thethe disused thethe disused disused disused cranes, cranes, cranes, cranes, to to be tobe used to beused be used used better better better better as as focal asfocal as focal points. focal points. points. points. The The The nodes The nodes nodes nodes areare are mostly are mostly mostly mostly road road road intersections, road intersections, intersections, intersections, to tobe tobe tobe better be better better better designed designed designed designed as as spaces asspaces as spaces spaces in in which inwhich in which which people people people people find find fithemselves nd fithemselves nd themselves themselves while while while while navigating navigating navigating navigating place place place to place to place. toplace. to place. place. The The The highlighted The highlighted highlighted highlighted districts districts districts districts should should should should take take take on take on aoncharacter on a acharacter acharacter character and and and and identity, identity, identity, identity, giving giving giving giving them them them athem purpose, a apurpose, purpose, a purpose, creating creating creating creating a reason a areason reason a reason forfor people forpeople for people people to to visit. tovisit. to visit. visit.

ToTo To accommodate To accommodate accommodate accommodate the the the growth the growth growth growth ofofof the of the the city, the city, city, city, Ghent Ghent Ghent Ghent released released released released a amobility amobility amobility mobility plan. plan. plan. plan. The The The The main main main main objective objective objective objective ofofof which of which which which is isto isto isto redirect to redirect redirect redirect traffi traffi traffi traffi c cthat cthat cthat that currently currently currently currently travels travels travels travels through through through through the the the city the city city city centre. centre. centre. centre. 40% 40% 40% 40% ofofGhent ofof Ghent Ghent Ghent traffi traffi traffi traffi c cpasses cpasses cpasses passes through through through through the the the centre, the centre, centre, centre, when when when when it itshould itshould itshould should really really really really bebe be using be using using using the the the rR40 the rR40 rR40 rR40 ring ring ring ring road. road. road. road.

Design Design Design Design mixed mixed mixed mixed residential residential residential residential blocks blocks blocks blocks where where where where people people people people live live live and live and and and integrate integrate integrate integrate with with with with others others others others

Giving Giving Giving Giving the the the streets the streets streets streets back back back back toto the toto the the residents the residents residents residents making making making making them them them them places places places places where where where where people people people people meet meet meet meet

Improving Improving Improving Improving the the the green the green green green & &&& blue blue blue blue areas areas areas areas ofof the ofthe ofthe city the city city city toto improve toto improve improve improve airair air quality air quality quality quality and and and reduce and reduce reduce reduce stress stress stress stress

Improving Improving Improving Improving public public public public transport transport transport transport networks networks networks networks toto create toto create create create a more aamore amore more sustainable sustainable sustainable sustainable city city city city

TO REPEL TO REPEL TO REPEL TO REPEL

TO INVITE TO INVITE TO INVITE TO INVITE

Urban Design 7221AR | Emma Fitzpatrick | Oliver Moran Urban Design Design 7221AR 7221AR || Emma Emma Fitzpatrick Fitzpatrick || Oliver Oliver Moran Moran Urban Urban Design 7221AR | Emma Fitzpatrick | Oliver Moran

FINAL PRESENTATION

short short short distances short distances distances distances

JanJan Gehl, JanGehl, Jan Gehl, Life Gehl, Life Between LifeBetween Life Between Between Buildings Buildings Buildings Buildings (1971) (1971) (1971) Island (1971) Island Island Press, Island Press, Press, 2011 Press, 2011 2011 2011

Lynch’s Lynch’s Lynch’s Lynch’s citycity city image city image image image elements elements elements elements

1. Stitching existing fabric together with new residential, and pedestrianising streets to increse human comfort and mobility

Regenerating Regenerating Regenerating Regenerating derelict derelict derelict derelict spaces spaces spaces spaces and and and building and building building building toto give toto give give give them them them them a new aanew anew new purposed purposed purposed purposed Filling Filling Filling Filling inin the inthe inthe gaps the gaps gaps gaps rather rather rather rather than than than than starting starting starting starting fresh fresh fresh fresh

INTERVENTIONS INTERVENTIONS INTERVENTIONS INTERVENTIONS AT AT AT AT DIFFERENT DIFFERENT DIFFERENT DIFFERENT SCALES SCALES SCALES SCALES

DESIGN DESIGN DESIGN DESIGN FOR FOR FOR FOR HUMANS, HUMANS, HUMANS, HUMANS, NOT NOT NOT NOT MACHINES MACHINES MACHINES MACHINES

HEALTHIER HEALTHIER HEALTHIER HEALTHIER CITY CITY CITY CITY

SOCIAL SOCIAL SOCIAL SOCIAL INCLUSION INCLUSION INCLUSION INCLUSION

High Density Housing Area

MANIFESTO MANIFESTO MANIFESTO MANIFESTO

ToTo To design To design design design places places places places where where where where activities activities activities activities can can can take can take take take place place place place which which which which include include include include allall allall members members members members ofof society ofsociety ofsociety society

To create a pedestrianised zone Redirect the R40 ring road to the other-side of the dock To extend the tram network

Improvesite the relationship site site and site and and city and city city citywith the water with a promenade

New New New New infrastructure infrastructure infrastructure infrastructure and and and and transport transport transport transport networks networks networks networks

2. Re-purposing redundant cranes and structures as meeting places, keeping the area’s industrial landscape part of the street scene

SKETCH IDEAS

INITIAL OUTLINE PROPOSAL

To complete the existing blocks Cycle Cycle Cycle Cycle networks networks networks networks that that that that to the west of the river To create apeople creative district around the cement factory help help help help people people people move move move move To create a large city park and relocating existing industry people people people people through through through through the the the the

INTENSIFICATION INTENSIFICATION INTENSIFICATION INTENSIFICATION &&&& DIVERSIFICATION DIVERSIFICATION DIVERSIFICATION DIVERSIFICATION

SKETCH PROPOSAL

3. Re-purposing old bridge arches as a space for markets, bars and childrens’ play

Filling in the gaps of the existing block to create a more dense urban fabric

Creation of a large urban park containing new facilities for public use in the existing industrial area

Proposal of a creative and social district around the old cement factory

Activate the waterfront with an accessible promenade and other activities

Design a pedestrian/cycle/tram bridge to connect the new park and create area to the city

Redirect the R40 to the other side of the dock so the waterfront becomes accessible

Extension of the existing tram and public transport network to make the area easily accessible

Create new cycle network making it easy to reach all areas of the site

4. Re-generating old grain storage bunkers as event spaces

BEFORE & AFTER

5. Introducing an urban park to an underdeveloped open area, with cycle lanes and spaces for childrens’ play

Existing Existing residential residential

Existingresidential Existing residential

Before: Large arterial road, lots of industry and lack of public engagement

Before: Road dominated by industry, with abandoned land used for dumping waste and rubble

After: Streets opened up to pedestrians, redevelopment of existing buildings and introducing new green spaces

After: Creative start up area with new artist studio spaces and exhibition with community at its heart.

Proposedresidential Proposed residential & ground & ground floorfloor publicpublic realm realm

DockNord Dock Nord

Creative Creative Exhibition Exhibition Building Building

Amphitheatre Amphitheatre

West West Dock Dock Area Areato to be be intensified intensified && densified densified

Breathing Breathing Space Space Newly Newly proposed proposed area area with with aadifferent different feel feel to the to the rest rest of central of central Ghent Ghent

7070 people people per per hectare hectare

Skill &&Education Skill Education Building Building

Relocated Relocated R40 R40 Ring-road Ring-road

ProposedResidential Proposed Residential

2020 Portfolio Emma Fitzpatrick East Dock East Dock HighHigh Density Density housing housing area areacreating creating the thenew new edge edge of the of city thecentre city centre 100 100 people people per per hectare hectare

MANAGEMENT, PRACTICE AND LAW LIVE PROJECT 42

Emma Fitzpatrick 2020 Portfolio

THE TURNPIKE GALLERY

BRIEF The Turnpike Centre was opened in Leigh, a town within the Borough of Wigan, in 1971, incorporating a public library and art gallery. Opening in an age of optimism, its first exhibtion included sculptures by Henry Moore. The gallery was closed due to public sector funding cuts in 2013, but it re-opened in 2016 and the charity running the gallery are now looking to activate the flat roof space at first floor, which was never developed in the original construction. Wigan Borough Council has recently published â&#x20AC;&#x2DC;The Fire Withinâ&#x20AC;&#x2122;, a cultural manifesto for the borough. As part of this, artists working with the Turnpike Gallery wish to create an exhibition which opens on the unused roof, which is set to be transformed into a garden. To enable this, whilst also resolving other issues of limited space in the gallery, the LJMU Live Project is to design and procure safe access onto the roof, design storage, screening of a boiler, the detail of the roof garden and a new outdoor cafe to collectively activate the whole roof space. -Jamie Scott

2020 Portfolio Emma Fitzpatrick

LIVE PROJECT PHASE 1 DESIGN BRIEF The client has identified a number of priority issues to be addressed in order to improve the internal layout and use of spaces. These include; - stored equipment taking up considerable space that could possibly be put to better use - lack of proper acoustics is problematic for all the different programmes within the building - the workshop room is frequently used but its adaptability could be improved to meet demand - private staff area isnâ&#x20AC;&#x2122;t sufficient, and there is no suitable meeting space.

The proposal will aim to reinvigorate the internal layout by incorporating solutions to these issues. This initial phase First Floor also includes the urgent resolution of unauthorised access to the roof, achieved by removing the overhang porch at the disabled side entrance. 44

Emma Fitzpatrick 2020 Portfolio

Communal Office

Private Office

Exhibition Prep

Print Room/Lobby Meeting Room

FIRST FLOOR

Storage

101-P-01

18/11/19

1:100 @ A1

Turnpike Gallery

Mezzanine Proposed Floor Plans

MEZZANINE

2020 Portfolio Emma Fitzpatrick

LIVE PROJECT PHASE 2 DESIGN BRIEF The client has identified a number of priority issues to be addressed in order to improve the appearance of the roof and its flexibility as a useable space. These include; - ongoing issues of anti-social behaviour, with it being frequently vandalised due to its ease of access - the roof is in serious need of repair - removal of asbestos required - the current perimeter wall height does not meet building regulation standards.

With the roofâ&#x20AC;&#x2122;s initial intended purpose of a theatre, the proposal should aim to bring life back to this space, giving public access to it. The roof space has the potential to become an extension of the gallery, offering unique opportunities for commissioned artists to present work within the context of an elevated garden. 46

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FIRST FLOOR

A VISION As well as working with the Director at the Turnpike, as our main client, we also had discussions with local artists. It would be their art installations on the roof, and therefore it was important for us to understand their ideas and ambitions. A series of collage concepts were produced to demonstrate our understanding of all our clientsâ&#x20AC;&#x2122; visions, as well as using our architectural knowledge to guide the design. 2020 Portfolio Emma Fitzpatrick

LIVE PROJECT SUNFLOWER SEQUENCE / FIBONACCI / FLOWER GARDEN / MAZE

CONCEPT COLLAGES 48

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ROOFTOP CINEMA / COMMUNITY USE OF SPACE / STEPPED SEATING

2020 Portfolio Emma Fitzpatrick

DESIGN CHARETTE

FORGOTTEN SPACES Regenerating Bootle New Strand

Emma Fitzpatrick 2020 Portfolio

Group project with James Blackburn, Alex McEllin, Oliver Moran, Adam Williams

BRIEF The Liverpool City Region Design Champion, Paul Monaghan, working for the City Region Mayor, organised an event at RIBA North where architects presented imaginative projects for various local authority owned sites in the region. The event was not a competition, but a celebration and promotion of good quality architecture. The LJMU team to take part in the event was selected from the most interesting projecs produced at the One Day Design Project event which took place internally at LJMU.

Bootle was once a clearly defined and thriving town, and in 1968 Bootle Town Council created a masterplan for the town centre that involved a large scale office district and shopping centre. Currently the town is looking for ideas to reinvigorate itself and bolster some of the more notable small scale activities and initiatives already taking place in the community. Sefton Borough Council have recently bought the Strand Shopping Centre, which is at present struggling to be commercially viable in the face of changing shopping habits. The Design Champion project brief focuses on the front and back of the shopping centre, with the LJMU brief extending it to to the south to engage with the Leeds Liverpool canal.

This is an ideas project so there is no specific brief, but it should be of public benefit given that the site is owned by the local authority. In a time of economic austerity, projects should focus on bringing people and more activity to the site. The design of public spaces might be equally important to the design of any buildings or structures envisaged.

2020 Portfolio Emma Fitzpatrick

DESIGN CHARETTE

PROJECT INTRODUCTION A proposal to regenerate the public realm surrounding Bootle New Strand shopping centre, using the site’s history to influence the materiality and design. Our aims were to create a route connecting the strand to the Bootle music festival site along the canal, create a multi-use space within a canopy that could be used for events and markets, and to introduce a new facade on the shopping centre, inspired by the area’s textile past. Working in a team of 5, tasks were divided, with 2 of us exploring the history of the site, others doing site analysis, with design ideas generated by the team as a whole. After discussing design ideas, we each presented concepts or visualisations, which were discussed and improved further. Myself and my colleague Oliver Moran had the opportunity to present our scheme to an esteemed judging panel and a considerable audience at the Forgotten Spaces event at RIBA North.

Begin exporting timber and jute.

Bootle is seaside resort until the docks moved in.

Beaches were sacrificed for the success of the docks.

74% of homes destroyed because of the docks.

Docks made Bootle target in WW2.

Timber and jute materials form the traditional exports of Bootle, and represent the decline of Bootle as a seaside destination. By reintroducing a ‘beach’ to the site, establishing a canal side network of recreational spaces, with a new ‘weave’ around the façades of the Strand shopping centre will reinvent the shopping centre and establish the site a new cultural node.

The jute weave.

Emma Fitzpatrick 2020 Portfolio

An example of a timber ‘weave’ façade.

The Strand shopping centre is built.

CONCEPT SKETCH

2020 Portfolio Emma Fitzpatrick

DESIGN CHARETTE

GROUP VISUALISATIONS 54

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A COMBINATION OF PROPOSALS FROM ALL GROUPS - AN ABSTRACT CONCEPT FOR BOOTLE NEW STRAND

2020 Portfolio Emma Fitzpatrick

BUILDING DESIGN HOUSING 56

Emma Fitzpatrick 2020 Portfolio

PROCESS OR PRODUCT: WHAT SHOULD HOUSING BE? PARK ROAD INTER-GENERATIONAL LIVING

CONTEXT With the state of housing across the EU considered ‘critical’, younger generations find it increasingly difficult to access home ownership, whilst simultaneously facing limited availability of social/affordable housing. At the same time, construction appears to be recovering at a slower pace than prices, and consequently, housing shortages are emerging more clearly, mainly in cities with a growing population. According to estimates from the Liverpool City Region Strategic Housing and Employment Land Market Assessment and the Liverpool Strategic Housing Market Assessment, Liverpool will need between 1,400 and 1,700 new homes per annum over the next 16 years to meet housing demand. Last April, Jeremy Corbyn’s Labour Party proposed an ambitious new social housing initiative. Housing for the Many introduces the ambition to deliver affordable homes, suggesting that more land would be made available more cheaply via an English Sovereign Land Trust. Different housing models have developed during the second half of the 20th century, promoting a locally driven living community, such as community land trusts

or co-operative housing; providing support to people initiating the conception and erection of their households, such as selfbuild associations; or emphasising on communal services and/or intergenerational occupation, such as co-housing. Cohousing is a housing development movement that started in the late 1960’s in Denmark, where it is called Bofaellesskaber or ‘living communities’. By exploring alternatives to property ownership or traditional flat shares, cohousing is expected to encourage social interaction between residents and, thus, create more resilient and connected communities, thanks to a careful mixture of spatial design, common amenities and formal social structures. Within this framework, experimenting with intergenerational living could further benefit such a living model, socially, by stimulating learning for old and young, reducing age segregation and tackling social isolation and loneliness, as well as economically, by sharing facilities and skills.

(Aliki-Myrto Perisinaki)

2020 Portfolio Emma Fitzpatrick

BUILDING DESIGN HOUSING

CONCEPT A social housing development, using the area’s demographics (Prince’s Park, Liverpool) to calculate required density through a series of different typologies. Understand the needs of the local community, new dwellings have been developed; 1 to 3 dwellings on the west side of the plot with a work-live typology and 3-bed family homes mixed with 4-bed multi-generational homes to the east side of the plot. Consideration of the site meant locating the work-live typology closer to Park Road, for young professionals and single people. Positioning the family homes to the back of the site provides them with a quieter way of living.

semi-private community garden for the residents

balconies for max daylight and better views

Park Road

dual aspect living area public commercial space

PERSPECTIVE SECTION 58

Emma Fitzpatrick 2020 Portfolio

skylights for max daylight into upper dwellings

access from Park Road

3rd floor e bedroom w terrac

Coleman’s FIreproof Depository existing

first floor living area with large windows for views

kitchen on ground floor living space above away from street noise

ensuite with roof ce

WORK-LIVE HOUSING

1-bed dwelling

2-bed dwelling

3-bed dwelling

Min req. internal floor area: 39m2 Min req. floor area: 79m2

Min req. floor area: 74m2

1 bed | 1 person | 1 storey

3 bed | 5 people | 1 storey

2 bed | 3 people | 2 storey

Total area: 330m2 (x3 due to there being 3 storeys) Required density: (990/each typology) (1 bed: 462m2, 2 bed: 198m2, 3 bed: 330m2) (462/39 = 11 1 bed) (198/79 = 3 2 bed) (330/74 = 5 3 bed)

3 BED FAMILY HOUSING + MULTI-GENERATIONAL HOUSING 3-bed family housing

4-bed multi-generational housing

Min required internal floor area: 84m

Min required internal floor area: 112m2

3 bed | 5 people | 2 storey

4 bed | 6 people | 3 storey

Total area: 1100m2 (825 for 3-bed and 275 for 4-bed) Required density: access from Devonport St for connection with existing housing

(8252/84 = 10 3 bed) (275/112 = 3 4 bed)

The work-live typology provides young professionals or single people with a ground floor space to develop a business idea, or house a service to benefit the local community. The housing typology supports residents who may otherwise be unable to afford commercial rent prices alongside living costs, by providing a space to run their businesses; designers, greengrocer, bike repairs, barbers. It also allows for amenities that local residents could use; cafes, bookshops, laundrette, corner shop. A combination of 3-bed homes with a 108m2 GIA, and 4-bed multi-generational homes with a 136m2 GIA, the development to the rear of the site provides family dwellings. Over 3 storeys, the multi-generational living type supports those struggling with rising living costs. The homes provide comfortable ground floor living for grandparents, open-plan dining and living for the whole family. Designed on a small plot, the homes are spread over 3 storeys, allowing for higher density of dwellings.

2020 Portfolio Emma Fitzpatrick

Typology Diagrams 1:50 4-bed multi-generational home 3-bed family home 1-bed work-live 1-bed 2 storey work-live 2-bed 1 storey work-live 3-bed 1 storey work-live

Emma Fitzpatrick 2020 Portfolio

Typology Diagrams 1:50 4-bed multi-generational home 3-bed family home 1-bed work-live 1-bed 2 storey work-live 2-bed 1 storey work-live 3-bed 1 storey work-live

Typology D 4-bed

Typology Diagrams 1:50 TYPOLOGY DIAGRAMS

3-bed 1-bed

4-bed multi-generational home

1-bed

3-bed family home

2-bed 3-bed

1-bed work-live 1-bed 2 storey work-live 2-bed 1 storey work-live 3-bed 1 storey work-live 2020 Portfolio Emma Fitzpatrick Typology Diagrams 1:50

BUILDING DESIGN HOUSING

DEVONPORT STREET EAST ELEVATION

PARK ROAD WEST ELEVATION

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

BUILDING DESIGN HOUSING PHYSICAL MODEL-MAKING

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

BUILDING DESIGN HOUSING

The contrast between the engineered brick facade and the glazed circulation cores, define a hierarchy of the elevation. The timber frame structure was chosen due to its ease of construction and for aesthetic purposes as it is partly exposed in the ground floor commercial spaces. street view detail section Location plan (not to scale)

The primary compostional element is verticality and defining each block with vertical glazed circulation cores between each block. Block 1

Elevation Section

Grid analysis of the facade

STRUCTURE AND FACADE STUDY As high density housing, the westfacing Park Road block of this scheme incorporates an echo of the industrial brick facade of the neighbouring Colemanâ&#x20AC;&#x2122;s Fireproof Depository, an exposed timber frame structure and curtain wall glazing. The contrast between the engineered brick facade and the glazed circulation cores, define a hierarchy of the elevation. The timber frame structure was chosen due to its ease of construction and for aesthetic purposes as it is partly exposed in the ground floor commercial spaces. 66

Emma Fitzpatrick 2020 Portfolio

dia

All dwellings are dual aspect therefore each floor of each block holds a single dwelling.

Verticality maintained from skylights to windows to ground-floor widths, also note continuation of brick to ground level at certain p along the facade to define variation in materiality and reiterate vertical nature of the facade, further showing the difference bet private dwelling and public circulation. Block 2

Block

diagram showing primary & secondary frame structure

5. 120mm timber trusses with mineral wool insulation

6. DPC fully lapped & sealed with membrane

6. Vapour control layer

7. 65mm sand & cement screed

7. 50mm service void (25x50 timber battens)

8. Hardwood interior floor finish

8. 15mm plasterboard, skim finish & painted

9. External paving

CONSTRUCTION SPECIFICATIONS

2. 50mm air space (cladding fixings)

Internal floor construction 4. Floor insulation

3. Stainless steel wallexterior ties grade OSB 4. 12mm

1. 5. primary structure timber Pre-stressed concrete beams joist

diagram showing primary & secondary frame structure

5. 120mm timber trusses with mineral wool insulation 4. Breather membrane 6. Vapour control layer

65mm sand & cement screed 3. 7.joist hanger

6. 140mm timber frame with mineral wool insulation

4. mineral wool fibre insulation

7. Vapour control layer

5. 10. 20mm air slot space (timber spacer battens) Drainage

6.11. 18mm interior upstand floor finish 30mmhardwood insulation perimeter

1. Brick cladding

7. skirting

9. 15mm plasterboard, skim finish & painted

Internal floor construction

2. 45mm cavity (counter battens) 3. Stainless steel wall ties

1. primary structure timber joist

4. Breather membrane

2. secondary structure timber joists 400mm apart

5. 15mm exterior grade OSB

3. joist hanger

6. 140mm timber frame with mineral wool insulation

4. mineral wool fibre insulation

7. Vapour control layer

5. 20mm air space (timber spacer battens)

8. 30mm service void

Block 5

9. 15mm plasterboard, skim finish & painted

Block 3

9. External paving

Wall Construction 8. 30mm service void

windows to ground-floor door o ground level at certain points materiality and reiterate the howing the difference between

8. Hardwood interior floor finish

8. 15mm plasterboard, skim finish & painted

Block 4

DPC fully lapped & sealed with membrane 2. 6.secondary structure timber joists 400mm apart

5. 15mm exterior grade OSB

7. 50mm service void (25x50 timber battens)

3. Wall insulation 215mm from top of floor

2. 45mm cavity (counter battens) 3. Breather membrane

diagram showing addition of light fitting in pitched roof

11.2.30mm insulation perimeter upstand Concrete cavity fill

1. Brick cladding

r door points e the tween

1. Concrete strip foundation

1. 20mm standing seam zinc cladding

agram showing addition of light fitting in pitched roof

Ground Floor Construction

10. Drainage slot

Roof construction Wall Construction

Block 4

Block 6

6. 18mm hardwood interior floor finish 7. skirting

Block 5

3 4

Block 6

5 6

1:20 elevation + section slice

8 7

2 1 3 4 5 6

1:20 elevation + section slice

8 7

2 1

diagram showing primary & secondary frame structure

diagram showing addition of light fitting in pitched roof

or door points ate the etween

ck 3

CONSTRUCTION SPECIFICATIONS

Ground Floor Construction

Roof construction

1. Concrete strip foundation

1. 20mm standing seam zinc cladding

2. Concrete cavity fill

2. 50mm air space (cladding fixings)

3. Wall insulation 215mm from top of floor

3. Breather membrane

4. Floor insulation

4. 12mm exterior grade OSB

5. Pre-stressed concrete beams

5. 120mm timber trusses with mineral wool insulation

6. DPC fully lapped & sealed with membrane

6. Vapour control layer

7. 65mm sand & cement screed

7. 50mm service void (25x50 timber battens)

8. Hardwood interior floor finish

8. 15mm plasterboard, skim finish & painted

9. External paving

5 6

1 7

10. Drainage slot

Wall Construction

11. 30mm insulation perimeter upstand

1. Brick cladding 2. 45mm cavity (counter battens)

Internal floor construction

3. Stainless steel wall ties

1. primary structure timber joist

4. Breather membrane

2. secondary structure timber joists 400mm apart

5. 15mm exterior grade OSB

3. joist hanger

6. 140mm timber frame with mineral wool insulation

4. mineral wool fibre insulation

7. Vapour control layer

5. 20mm air space (timber spacer battens)

8. 30mm service void

6. 18mm hardwood interior floor finish

9. 15mm plasterboard, skim finish & painted

7. skirting 9

^ 1:20 Elevation

6 5

> 1:20 Section Detail

Block 4

Block 5

Block 6

9 1

^2020 1:20 Elevation 3 Portfolio Emma Fitzpatrick > 1:20 Section Detail3

SPECIALIST STUDY

A STUDY OF LIVERPOOL FROM 1800-1865 Tracing the Growth of the City

Emma Fitzpatrick 2020 Portfolio

EXTRACT INTRODUCTION

The 19 th century is considered a Golden Age in Liverpool’s history, with names like C R Cockerell, Jesse Hartley and John Foster building the structures that defined the city’s skyline. Starting prior to the 19 th century with the early engineering and architectural work of Hartley and Foster Senior, this study will explore the growth of Liverpool, with significant focus on the neoclassical buildings of John Foster Junior. During the early 19 th century, Liverpool’s infrastructure could barely keep up with its growing demand for trade. With each new dock came yet more wealth and increased demand. This cycle continued for many years, beginning with the world’s very first wet dock; Thomas Steers’ Dock. Opened in 1715, the dock signified the start of a Golden Age for Liverpool. What followed over the next 200 years in the form of warehouses, churches and civic monuments defined Liverpool’s leadership as a world city and its beauty. Along with the dock infrastructure, Liverpool’s civic architecture during this period is also remarkable. Influences from neo-Palladianism, Greek Revival and early Gothic Revival are evident in the city’s 19 th century architecture. A neoclassical style of architecture, the Greek Revival slowly grew in popularity in Great Britain before John Foster and C R Cockerell’s return from the Greek antiquities (1809-1817). Names like William Wilkins, Sir Robert Smirke and Decimus Burton contributed significant projects to the new Grecian style in other English cities, not forgetting the work of Sir John Soane. Following Foster and Cockerell’s return to England, the Greek Revival’s fame rose significantly, particularly in Liverpool. This study will mention Harrison’s Lyceum, Rowland’s St Bride’s Church, and Elmes and Cockerell’s St George’s Hall. The work of Alexander ‘Greek’ Thomson in Glasgow is also noteworthy. The period from c.1800 to c.1870 saw the biggest growth of Liverpool. An astonishing increase in population brought advantages and disadvantages alike; plenty of workers to build and run the docks, but mass immigration brought with it antiSemitism and conflict. New talents and entrepreneurs arrived in the city, but along with them came overpopulation and poor sanitation. Disease was rife, and the divide between the poor working class and wealthiest high classes grew wider. The slave trade brought success to Liverpool, and most of the city’s 19 th century architecture exists thanks to the city’s commercial contract with Africa and the West Indies. John Foster’s portfolio of Grecian monuments continued to grow, and although many of his buildings are now gone, he is remembered in Liverpool with reverence. This study will highlight his devotion to Liverpool, and show how he almost independently formed the city that we

see today. Not only was he responsible for providing Liverpool with some of the world’s finest neoclassical architecture, he also ingeniously laid out streets and cemeteries. Using his knowledge from time spent in Greece, and skills passed on from his father, Foster successfully worked as architect, surveyor, and urban planner. Although the most successful of the Foster family, John was not the only one who played a part in what could be called the Foster dynasty. His father John Foster Senior was by no means as architecturally established, but built docks and warehouses in his roles as; Corporation Surveyor, Superintendent of Public Buildings, Dock Surveyor and Secretary to the Dock Committee. Despite no qualifications as engineer or architect, Foster Senior was a master component in building Liverpool’s success as a commercial port city. Samuel Holme even referred to him as ‘King of Liverpool’1. Two of his other sons, William and Thomas also contributed, with William as an architect and attorney. He eventually became Secretary of the Exchange News Room. In the 1830s, Thomas was becoming the most significant Foster. He was a councilor, contributing towards the Reform Act of 1832 and later became Town Clerk. Evidence, therefore, of the Foster Empire. It’s suggested that their domination made it difficult for other architects in the city. Thomas Rickman (1776-1841) was the architect responsible for ‘one of the most remarkable churches in the country’2, St George’s Church in Everton. Rickman was a major figure in the Gothic Revival and was responsible for establishing the phases of the Gothic style. In an Architectural Review from 1950, Turpin Bannister said that the church was, ‘at once the opening of a new phase in the Gothic Revival and a monument to the new age of iron’3. Notably, the first iron dock shed was built in 1818 after Rickman’s use of cast iron for St George’s Church (1814). An article on his other church, St Michael’s, says, Elements that look like they are made of stone – the high plinth, the clerestory cladding, all the window tracery, and the door and window surrounds – are all in fact made of iron, along with the churchyard fence and gates.4 Architects like Rickman lived in the shadow of the Fosters. This study focuses on the Liverpool of John Foster and his father but also aims to illustrate how others also significantly contributed to the ‘Golden Age’ of Liverpool’s evolution.

2020 Portfolio Emma Fitzpatrick

1736: Allerton Hall completed, Palladian style

1715

1736

1715: Thomas Steers’ Dock (The Old Dock) opens

1754

1786: John Foster Junior is born, Liverpool

1759

1786

1759: John Foster Senior is born, Liverpool 1754: John Wood’s Town Hall is completed

Emma Fitzpatrick 2020 Portfolio

1799: John Foster snr’s design for Roscoe’s Athenaeum Club is completed, Church St

1788

1799

1788: Charles Robert Cockerell is born, London

1802

1817: CR Cockerell returns from Greece

1807: Abolition of the slave trade 1810: CR Cockerell travels to Greece

1807

1802: Harrison of Chester’s Lyceum is completed, Bold St

1809 1809: John Foster junior travels to Greece

1810

1816

1816: John Foster junior returns from Greece

1817

1826: Schinkel visits Liverpool

1839: Foster junior’s Custom House is completed

1823: Foster junior’s St Andrew’s Church is completed, Rodney St

1820

1820: Wyatt and Foster snr’s remodelling of the Town Hall is completed

1823

1824

1826

1829

1839

1846: CR Cockerell dies Hartley and Hardwick’s Albert Dock opens

1845

1846

1824: Foster junior’s Royal Infirmary is completed 1845: CR Cockerell’s Bank of England is completed, Castle St

Foster snr resigns as Surveyor and Architect to the Corporation, with his son as his successor Jesse Hartley appointed Civil Engineer and Superintendent of the Concerns of the Dock Estates

1864: Ellis’ Oriel Chambers is opened, Water Street

1854

1860

1864

1860: 1854: Hartley Elmes and dies Cockerell’s St George’s Hall is completed

1829: Foster junior’s St James’ Cemetery and The Oratory are completed

2020 Portfolio Emma Fitzpatrick

SPECIALIST STUDY

EXTRACT THE CUSTOM HOUSE CASE STUDY

Built on the site of the Old Dock, Foster’s new Custom House received endless criticism. It was considered sacrilege replacing such a defining structure in Liverpool’s history, but ultimately the Custom House became just as much of a landmark as the Old Dock was. As mentioned in Seaport, it was Foster’s ‘largest and most impressive building, crowned by a dome around which he intended placing a peripheral colonnade’. An idea abandoned due to extortionate costs quite possibly hindered the overall effect of the central composition. The building had Ionic porticos on all elevations except the south. Its front façade faced towards the Town Hall, so the figure above shows the back façade. Its ashlar stone was quickly blackened due to its location amongst all the industry. Impressive in its grandeur, the Custom House was loved by many. The designer William Morris gave his opinion in an ode to monuments like the Custom House; It has been most truly said that these old buildings do not belong to us only: that they belonged to our forefathers and they will belong to our descendants unless we play them false. They are not in any sense our property, to do as we like, we are only trustees for those who come after us.

A poignant statement, Morris’ words define such magnificent buildings as the ones mentioned in this study as painfully precious and a gift to us from their designers. Sadly, in the case of Foster’s Custom House, Morris’ statement was

Emma Fitzpatrick 2020 Portfolio

ignored. Bombed in the Blitz of May 1941, the imposing yet beautiful monument was destroyed seemingly beyond repair and therefore pulled down in 1948, with the rubble being placed on Hightown beach, just north of Liverpool, to protect the eroding sand dunes. In this sense, Foster’s building can be considered to still belong to our descendants as fragments from the building still reside on Merseyside, until the inevitable fate of the tide washes its memory away forever. Picton offered a different perspective on Foster’s Custom House, saying, The Corporation, in an evil hour, determined to demolish the Old Dock, the cradle of Liverpool commerce… As to locality nothing could have been more suitable for a dock and as to the nature of the site, nothing could have been more unsuitable for the erection of a large building. Despite some giving the Custom House the grand title of the ‘lost Fourth Grace’, Picton’s critique of Foster’s design continued. He commented on the interior being dark and oppressive, the staircases as ‘utterly unworthy’ and its exterior’s lack of sculpture and character. The controversy surrounding Foster’s Custom House was of little concern to him. He continued to dominate Liverpool’s growth both architecturally and economically. The Custom House was the first view of the city on arrival from the water. It was undeniably an imposing and magnificent structure that stood as a status symbol for the city. It served city as the port of call for arriving merchants and tradesmen, essentially the gateway into the city.

LOCATION CANNING PLACE ARCHITECT JOHN FOSTER COMPLETED 1831

2020 Portfolio Emma Fitzpatrick

INDIVIDUAL URBAN DESIGN

MYSTIKOS KIPOS Secret Garden

Emma Fitzpatrick 2020 Portfolio

BRIEF Working from the outputs of the group urban design project, take a specific element of the group project, such as a singular street or square or other public spatial feature and develop it up to a finer level of detail, with regard to materiality, composition, and landscape design. Your design proposal should also indicate the massing and possible design approach to the surrounding buildings and the way in which they might contribute to the urban setting you develop.

2020 Portfolio Emma Fitzpatrick

INDIVIDUAL URBAN DESIGN

PROJECT INTRODUCTION Entitled ‘Mystikos Kipos’, which translates as Secret Garden in Greek, I drew on the cultural aspect of the group project Rediscovering Eleusis to further develop a more specific area of the site. As a secondary, more private route from main Elefsina to the waterfront, the site is a sequence of 3 squares, each defined by a different function. Designed to be an exploration of secret spaces, the notion of a ‘secret garden’ helped define the project. Study around ancient Greek practices involving Hestia, and exploration of precedents such as the gardens of Stavros Niarchos Foundation Centre added a layer of depth to the project. The project also aimed to draw on Elefsina’s Capital of Culture 2021 bid, which was a fundamental part of the group masterplan. Identifying culture as the heart of the project stemmed from the Greek traditions of outdoor performances and celebration of their rich ancient heritage.

Hestia Εστία

Olympian Goddess of Hearth and Home Public hearths all over Greece, and fires in Ancient Greek homes were never allowed to go out - an important element of the home. One of her names, Hestia Bouleia, derives from the word for ‘meeting hall’. 76

Emma Fitzpatrick 2020 Portfolio

ANALYSIS

Analysis of public/private spaces and frontages Considering my proposed masterplan as the back Irrational v rational: creating a route that surrounding residential gardens for surrounding residential responds to the uniform urban grid system by creating a contrast

â&#x20AC;&#x153;What would a city be like if art and culture were at the heart of every activity?â&#x20AC;? -Eleusis 2021

2020 Portfolio Emma Fitzpatrick

INDIVIDUAL URBAN DESIGN SITE PLAN 78

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

INDIVIDUAL URBAN DESIGN PROGRAMME DIAGRAM A three-dimensional representation of the different programmes within each of the three squares. Identifying the squares as a new route through to the waterfront. The squares act primarily as a semiprivate area for residents, with traversing routes to allow access for other pedestrians. Given the siteâ&#x20AC;&#x2122;s location, between existing residential, means it will be primarily occupied by residents. The stone wall on the waterfront encloses the market street, and will only be discovered by way-finding visitors. 80

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

INDIVIDUAL URBAN DESIGN

SQUARE 1 Enclosed by a stone wall on the waterfront, to encourage peopleâ&#x20AC;&#x2122;s curiosity, the first square holds a daily market, selling fresh fish and other local produce. Transformed at night time into a space for socialising, the market stalls sell Greek gyros and beer.

SQUARE 2 The

central

square

features

childrenâ&#x20AC;&#x2122;s playground, and space for performance. Giving local artists and bands the opportunity to perform here supports the local economy. Trees between the squares will act as an acoustic buffer between loud and quiet spaces.

SQUARE 3 The third square fulfils the secret garden title the most, as it will be decorated with flowers and plants

VISUALISATIONS A series of three-dimensional studies to understand how each square will be inhabited. They aim to give a sense of scale, and a suggestion of activity in each space. 82

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like bougainvillea, lavender, and jasmine. The square has a quiet reading corner with a community library. This will be a tranquil environment

where

people

can

relax, and reflect on the beauty of Elefsina.

2020 Portfolio Emma Fitzpatrick

GROUP URBAN DESIGN FIFTH YEAR 84

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REDISCOVERING ELEUSIS

Group project with Adam Williams, William Ekuban

BRIEF Working within one of the defined sites you are to make radical (far reaching; thorough; going to the root) urban design propositions for a neighbourhood or district, which will be expressed as a spatial proposition through visual imagery initially, and additionally physical models and moving images at a concluding public exhibition. In asking for radical propositions, we are seeking work that goes beyond the typical outputs of contemporary consultancy firms, which are normally tightly constrained by various factors. Notwithstanding this your work should still demonstrate a clear understanding and response to the fundamental attributes of successful place-making. To enable this you will need to propose your own development scenario, and through research establish a key thematic idea that your project will expound.

2020 Portfolio Emma Fitzpatrick

GROUP URBAN DESIGN SITE HISTORY AND ANALYSIS WITH Titan, the cement works, as the only factory still partly operating, the sites of Kronos (distillery), Votrys (old oil mill) and Iris (paint factory) remain derelict today. We saw this as an opportunity. Our urban design proposal began fundamentally by identifying the main routes and axes through the site. After establishing three main axes, we used these to define three significant zones each responding to its context. Specifically, we plan to add a new archaeological museum with a clear visual connection to the sanctuary of Eleusis, re-purpose a derelict building on the site of Votry

Emma Fitzpatrick 2020 Portfolio

Votrys to house an industrial museum, in addition to developing a flagship maritime museum along the waterfront. Located in the West Attica of Greece, Elefsina is a small port city with a rich yet troubled industrial history. Considered one of the most important sanctuaries of the ancient world, Eleusis, as Elefsina was once known, is still highly regarded today with its vast archaeological site holding ancient ruins and a museum of related artefacts, and is considered an area of world-class archaeological significance. Establishing itself with a series of factories and

and port activities, Elefsina was at one point the industrial centre of Greece, with people arriving from all over the country to live and work in the bustling city. Following on from its successful 19th century industrial presence, Elefsinaâ&#x20AC;&#x2122;s profile plummeted, due to the footprints of factories spreading into close proximity of residential and archaeological sites. Causing environmental pollution and an unwelcoming atmosphere for the residents of Elefsina.

Elefsina

2020 Portfolio Emma Fitzpatrick

GROUP URBAN DESIGN DESIGN INSPIRATION ALDO Rossi believed good urban design is generated from memory. Talking about catalytic and pathological monuments, Rossi’s theory of monuments as primary constants that define a city can be emulated in our masterplan proposal, in particular considering Votrys (the old oil mill) as a catalytic monument. With its original use redundant it is now used as an exhibition space, with an amphitheatre used for public performances. Another of Rossi’s approaches evident here is ‘form over function’. Despite Votrys not necessarily being designed with form over function in mind,

Emma Fitzpatrick 2020 Portfolio

mind, its simple industrial design allows typologies to define a city, perfectly defined adaption of the space, with the historic by Pier Aureli in his article on Typology and typology of an old industrial factory echoing the Singular Urban Event; through its modern-day cultural use. Rossi also talked about the idea of stitching new fabric into the existing urban “the concept of typology tries to include the city in all of its dimensions, while the urban event environment. highlights the singularity of the architectural When discussing retention and demolition, intervention as a partial, concrete and identifiable we decided to retain almost all of the existing contribution to the development of the city” fabric as we concluded that it is still integral to downtown Elefsina, which has already (Aureli, 2007). suffered misery from being located so close to the cement factory. In a sense this element of our proposal relates to the ideal of using typ

2020 Portfolio Emma Fitzpatrick

GROUP URBAN DESIGN Design Interventions 90

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

GROUP URBAN DESIGN MASTERPLAN WITH Titan, the cement works, as the only factory still partly operating, the sites of Kronos (distillery), Votrys (old oil mill) and Iris (paint factory) remain derelict today. We saw this as an opportunity. Our urban design proposal began fundamentally by identifying the main routes and axes through the site. After establishing three main axes, we used these to define three significant zones each responding to its context. Specifically, we plan to add a new archaeological museum with a clear visual connection to the sanctuary of Eleusis, re-purpose a derelict building on the site of Votrys to house an industrial museum, in addition to developing a flagship maritime museum along the waterfront. 92

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

GROUP URBAN DESIGN PROGRAMME DIAGRAM WHOLE SITE Showing the visual connection between the three museums, as monuments, stitched together by existing residential, cafes and bars. The site is defined to the north edge by the TITAN cement factory, to the west by the water, to the south by a pedestrian route of bars and restaurants leading down to the water, and to the east by the archaeological site. The adaptive re-use of existing structures like the old oil mill at Votrys and the ancient amphitheatre aims to reinvigorate the area, encouraging activity and to be designed as a celebration of Elefsinaâ&#x20AC;&#x2122;s history and culture. 94

Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

GROUP URBAN DESIGN PROGRAMME DIAGRAMS 1. The secluded route 2. The ancient museum 3. The maritime amphitheatre 96

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>2 3

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GROUP URBAN DESIGN 98

Emma Fitzpatrick 2020 Portfolio

VISUALISATION A bridge over the stage area connects the Archaeological site with the museum, also allowing pedestrians an elevated view of the events below. Surrounded by greenery and further enclosed by the Archaeological museum, the amphitheatre space is secluded and intimate, despite its use being predominantly public. Built next to the ruins of an ancient amphitheatre, the new archaeological amphitheatre, is used for public performances, on the edge of the Archaeological site. The connection to the sites history should provide a deeper experience for the museumâ&#x20AC;&#x2122;s visitors.

FINAL PRESENTATION

Section A-A

Section B-B

Figure Ground Plan | 1:1000

Section C-C

Section D-D

Section A-A

Section B-B

Section C-C

D Section D-D

2020 Portfolio Emma Fitzpatrick

CURRICULUM VITAE

Emma Fitzpatrick 07464613763 efitzpatrick202@gmail.com Liverpool John Moores University BA (Hons) Architecture Sept’ 2014 - June 2017 Liverpool John Moores University MArch Architecture Sept’ 2018 - June 2020 MacOS and Windows AutoCAD Sketchup Adobe Creative Suite Vectorworks Revit

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Sketching Model-making Screen-printing Rendering techniques Graphic design

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Space Modular Junior Architect August 2019 - present

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Emma Fitzpatrick 2020 Portfolio

2020 Portfolio Emma Fitzpatrick

101

Emma Fitzpatrick

2020 Portfolio Master of Architecture

Liverpool School of Art and Design

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Emma Fitzpatrick 2020 Portfolio